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Article

Pedro Querejazu

(b La Paz, 1933).

Bolivian sculptor. He taught himself to sculpt by studying Pre-Columbian sculpture and ceramics. Between 1959 and 1961 he traveled in several Latin American countries; he then lived in Europe for twelve years, working in the Netherlands, Belgium, France, and Switzerland. While in Europe he married the Swiss sculptor Francine Secretan, with whom he returned to Bolivia in 1974, settling in La Paz. In 1964 he was awarded the first “Queen Elizabeth” prize in the 10th International Sculpture Biennale in Brussels. Carrasco’s preferred materials were stone and bronze. His subject matter was based on the knowledge of the age-old traditions of native peoples and on their relation to nature, although his work is modernist in appearance. His earliest works represent seated women and later the munachis, or love and fertility amulets. In the early 1970s his art became more synthetic, more cryptic, and abstract. During this period his interpretation of the genesis of life was notable, conveyed in enormous spheres that were split open to reveal magical interior worlds. After returning to Bolivia his art became more figurative, as in ...

Article

(b Santiago, 1931).

Chilean painter and ceramist. A self-taught painter, in the 1950s and 1960s he based his landscape motifs and colors on the Andes, using very simple forms suggestive of Pre-Columbian textiles in their flat, abstract designs and balanced chromatic effects. It was a question of subjecting archetypal shapes to a subtle and rational play of color. While remaining committed to a careful technique in both his oil paintings and pastels, Yrarrázaval fundamentally changed direction in 1973, when he began to represent isolated and suspended figures undergoing gradual deterioration: faceless and with their bodies swollen as if by internal pressure, they appear to have lost their identity, leaving behind only realistically painted shirts, collars, and ties. The suggestion is of a collective anonymity, an identity crisis embodied in purely external human gestures revealed through social rituals and through the status and prestige accorded to dress and fashion. Yrarrázaval continued in these works to emphasize the material quality of his paintings and the strong three-dimensional illusion of his forms, relying exclusively on the palette knife to reveal or conceal forms by a meticulous modeling of light and shade....