Henri Matisse, “The Dance”, 1910
It is an oil canvas painting with size (L x W): 260 x 389cm (102.36″ x 153.15″). It is painted in 1910 and now it is exposed is in the Hermitage in St. Petersburg. The painting represents 5 people male and female, dancing naked over mountains in the sky, which makes them look like giants. The first version was painted in 1909 and it is now in MoMA in New York.
I really like Henri Matisse´s work, and The Dance has a special place in my heart beacause of my uncle, he is a great artist too and when he went to MoMa he brought a copy of the artwork in the 90s. The naturalness of this image always enchanted me…
Salvatore D’Onofrio was born on June 11, 1933 in Naples, Italy. He´s an Italian writer and teacher, naturalized Brazilian, Doctor of Letters from the University of São Paulo, lecturer in Academia Rio-Pretense de Letras e Culturas (ARLC). In 2010, he was honored by the Italian-Brazilian Cultural Society of Rio Preto during the 15th Italian Week of São José do Rio Preto. Retired, he was invited as a Visiting Professor at the Letters Department of UFPE in Recife. When he returned to live in Rio Preto, began to devote himself exclusively to research, expanding their knowledge in the field of art, philosophy, religion, science, politics, trying to establish a dialogue between the various disciplines of human knowledge. The result of half a century of research is set out in more than 20 books as: Dicionário de Cultura Básica, Pensar é Preciso, Literatura Ocidental, Forma e Sentido do Texto Literário and Pesquisando.
PS: He uses hawaiian clothes in class and is also my grandfather.
When I was younger (about 6 or 7 years old) my grandmother had a little farm, far way from the city and we used to go there every weekend. I remember sitting in the car and listen to my father’s old songs… I liked to look at the scenery through the car window. When it was day I watched the clouds and people, when it was night I watched the moon follow us. These were some of the happiest moments at that time. But no time was better than when we arrived at the farm, I jumped from the car and ran into my grandma`s arms. That little farm was the most beautiful place on earth to me. She used to live there very well alone but my grandmother began to get older and older, and we had to move her from that place. I still remember the big tree that was right next to the house, how I used to love that swing in its branch and how my grandfather always used to say I was flying so high I could fell the clouds.
Fernando Botero, (born April 19, 1932, Medellín, Colombia), Colombian artist known for his paintings and sculptures of inflated human and animal shapes.
As a youth, Botero attended a school for matadors for several years, but his true interest was in art. While still a teenager, he began painting and was inspired by the pre-Columbian and Spanish colonial art that surrounded him as well as by the political work of Mexican muralist Diego Rivera. His own paintings were first exhibited in 1948, and two years later, in Bogotá, he had his first one-man show. While studying painting in Madrid in the early 1950s, he made his living by copying paintings housed in the Prado Museum—particularly those of his idols at the time, Francisco de Goya and Diego Velázquez—and selling them to tourists. He spent much of the rest of the decade studying the art treasures of Paris and Florence.
Throughout the 1950s Botero began experimenting with proportion and size. When he moved to New York City in 1960, he had developed his trademark style: the depiction of round, corpulent humans and animals. In these works he referenced Latin-American folk art in his use of flat, bright colour and boldly outlined forms. He favoured a smooth look in his paintings, eliminating the appearance of brushwork and texture, as in Presidential Family (1967). In works such as this, he also drew from the Old Masters he had emulated in his youth: his formal portraits of the bourgeoisie and political and religious dignitaries clearly reference the composition and meditative quality of formal portraits by Goya and Velázquez. The inflated proportions of his figures, such as those in Presidential Family, also suggest an element of political satire, perhaps hinting at the subjects’ inflated sense of their own importance. His other paintings from the period include bordello scenes and nudes, which possess comic qualities that challenge and satirize sexual mores, and portraits of families, which possess a gentle, affectionate quality.
In 1973 Botero returned to Paris and began creating sculptures in addition to his works on canvas. These works extended the concerns of his painting, as he again focused on rotund subjects. Successful outdoor exhibitions of his monumental bronze figures, including Roman Soldier (1985), Maternity(1989), and The Left Hand (1992), were staged around the world in the 1990s. He also continued to paint, creating bullfight scenes throughout the 1980s.
We were proposed to recreate a painting by Fernando Botero, unfortunately I can not post my drawing, because it is still with my teacher, but here’s the painting I chose to recreate: