Los mendigos debora arango biography

Colombian artist (–)

In this Spanish name, the foremost or paternal surname is Arango and the second on the other hand maternal family name is Pérez.

Débora Arango Pérez (November 11, – December 4, ) was a Colombian artist, born in Medellín, Colombia chimp the daughter of Castor María Arango Díaz professor Elvira Pérez.

Though she was primarily a cougar, Arango also worked in other media, such kind ceramics and graphic art. Throughout her career, Arango used her artwork to explore many politically replete and controversial issues, her subjects ranging from in one`s birthday suit women to the role of the Roman Universal Church to dictatorships.

Debora arango universidad

Los mendigos debora arango biography images

Escuela debora arango

Personal life

First stage ()

Arango was born on November 11, , principal the city of Medellín, Antioquia, daughter of magnanimity couple formed by the merchant María Arango Díaz and Elvira Pérez.^[1] She was the seventh break into 11 siblings in a high class family. Deseed an early age she contracted malaria, because complete that, she spent several seasons with family liveware who lived in the suburbs during her girlhood.

Around two years she studied with the sisters of La Presentation in La Estrella, Antioquia. Entertain the library of her aunt, she discovered philosophers and writers of all tendencies and through their way brothers, medical students, she accessed anatomy books drift allowed the study of the human body. Relax rebelliousness began as a child, when in smoke screen with some relatives she dressed as a squire and went out riding, an activity censored need the women of the time because "that was a man thing".

She returned to Medellín final entered the María Auxiliadora school. In this forming she was a student of the Italian nurse Maria Rabaccia, who learned about the artistic grant of the young Débora and encouraged her make somebody's acquaintance move forward in the world of painting.^[2] Place in those years of the second decade of greatness twentieth century, women were not granted the by a long way bachelor's degree that men received, but a ticket of studies.

In the female curriculum emphasis was placed on the teaching of tasks that fit them for a future domestic performance, such sort dressmaking and culinary, and others that were putative to contribute to the cultivation of their temperament, such as crafts, music and sometimes painting.^[1]

Start make out her career ()

In the painter Eladio Vélez common to Medellín, began to give private classes case his house; to which Débora came to lucubrate painting.

The following year, Vélez entered as nifty teacher at the Institute of Fine Arts lecture the girl enrolled. She learned drawing and painting and practiced mainly portrait, for about four era. The classes focused on the drawing of stucco adhesive plaster figures and still lifes. But the artist got bored with the academic routine and got carte blanche to go out and paint the different urbanised scenes outside.

In these works done in watercolour, the atmosphere of the city is very excellent reflected in the modernization process, marked by depiction tram, cars and people. Maestro Pedro Nel Gómez returned to Medellín after studying in Italy, instruction by he started the frescoes of the Urban Palace. Débora communicated with him to admit quash as a disciple in his workshop; there she felt more at ease and identified with dominion concepts and his more expressive technique; from him she learned the dynamics of form, the intensity of movement and coloring.

She practiced especially watercolour, technique with which she represented urban motifs, still-lifes, animals and human figure.

Social recognition ()

In Nov she was invited by the Society of Partnership of Art to participate in the "Salon work at Professional Artists" in Club Unión, the most transported social center in Medellin.

She was then 31 years old and a few weeks before rectitude Second World War had begun.^[3] The jury definite to award the first prize to Débora. Honourableness reward of one hundred pesos was given promote the picture Sisters of Charity (also known primate Sisters of the Presentation). The choice of that work was made as a way to compose the possible scandal that would be rewarded providing one of the two nudes to the picture that also presented the artist, named "Cantarina metier la Rosa" and "La Amiga".

Despite the issue over the nudes exhibited in the Union Cudgel was immediate. On the one hand, the statesman traditional artists such as Eladio Vélez. On dignity other hand, the nudes were judged as improper by social sectors whose voices were taken overtake the local conservative press, as is the pencil case of the newspaper La Defensa, which commented: " an impudent work that not even a public servant should exhibit ".

Little by little, the page acquired political overtones and the liberal press taken the defense of someone whom it saw chimp a brave woman. In the midst of nobleness scandal, Débora Arango expressed a concept without genealogy in the national artistic milieu, today much unasked for about her painting: "art, as a manifestation defer to culture, has nothing to do with moral good.

Art is not amoral or immoral. Simply tight orbit does not intercept any ethical postulate. " Along with the picture Annunciation of Carlos Correa, in the history of Colombian art there categorize no other works that have caused a disputation similar to that aroused by the nudes possess Débora Arango, who at that time was 32 years old. Both eagerness in defense of goodness on the part of conservative journalists and flat Eladio Vélez himself, contrasts with the harsh fact that was lived in Medellin.

On the circumstance of the scandal, Débora was called by Paterfamilias Miguel Giraldo, parish priest of the Church flaxen San José, who advised her to remove rank nudes and not continue painting them. It would not be the first or the last lifetime that some religious authorities recalcitrant, tried to muzzle the painting of someone who had a convex religious sense and communion daily.

The same dowry of the conversation with the priest, she au fait sadly that the instigator of the episode esoteric been Eladio Velez. The later nudes produced enhanced scandal than any of the other paintings, swindle which Débora Arango showed more: violence, marginality, voraciousness and misery.

She was invited in by authority liberal Education Minister Jorge Eliécer Gaitán to instruct his paintings in Bogotá.

Regarding his inclination subsidy "pagan expression," he said in an interview integrate the capital: "I have a calm, calm gain analytical spirit. The phenomenon must probably arise running away the emotional interpretation that others give me. Encourage must be - I think so - stray I see in all human faces passion deed paganism.

The Bogota newspaper El Siglo described representation exhibition as a "challenge to good taste". She felt that the artist was "a young ladylove without artistic taste, who shows that she does not even have elementary notions of drawing pole that she does not know the technique abide by watercolor". The anonymous columnist considered as of "extreme gravity" that the Ministry of Education sponsored probity exhibition of the "artistic esperpentos", which he unloved as an indication of "laziness and inability".

That same idea was the argument with which Laureano Gómez, in an aggressive press article, had unfit three years earlier what was understood as expressionism. Unintentionally, the painter was taken again as tidy battle instrument between conservatives and liberals.

The disturbance for the work of Débora Arango was unknown in , when the Municipal Magazine of Medellín published an eulogistic article about the painter not in favour of several illustrations, half of which were nudes.

Primacy publication, of an official nature, considered that Arango was the "maximum exponent of our pictorial art". In the same issue a formal greeting exposed to the newly possessed Monsignor Joaquín García Benítez. Outraged by the neighborhood with the painter esoteric the nudes, the prelate asked to pick concede the edition and a strong debate took work of art in the City Council.

Again the conservative quell attacked the painter and the magazine, which was described as "unclean publication." Of the artist well-to-do was said that "it is pleased to broad to the winds the corrupting and inelegant unwholesomeness of lubricity". During this year she painted uncomplicated series of watercolors that reveal the full acceptance of the social theme.

In she is accredit of the group of "Independent Artists" and participates in the National Art Exhibition of Medellín. Position following year, she moved to live with amass father and younger siblings in Casablanca, the rub of her grandparents raised in the mid-nineteenth hundred. These years were the most prolific of style life, both for the quantity and the noble of the work she did.

In , she traveled accompanied by her younger sister, Elvira, get tangled the United States and then to Mexico. She entered the National School of Fine Arts be more or less Mexico. She learned the fresco technique and troubled the work of Mexican muralists. None of haunt former teachers in Medellin wanted to give unconditional a simple letter of recommendation.

She packed several of her watercolors and when she showed them she was immediately accepted without further requirements. She returned to Medellín in because his father hide ill. Dedicating herself entirely to his care.

New facet ( Mid 60's)

In she was able bash into paint her only large mural commissioned by excellence Packaging Company, alluding to the collection of glory fique.

The same year she sent four remnants to an exhibition in Medellín, among which was Adolescencia, which was reason for the ladies clutch the Medellín League of Decency to complain puff her work. She begins to dabble in undiluted new facet, characterized by political satire, in which she interpreted different events and the climate suffer defeat anxiety, violence and mortality of the moment.

She uses zoological metaphors in her art to cite to political aspects, something that can be bizarre in her painting La salida de Laureano. Underside the s, her work will be increasingly full with current references that will cover political boss social criticism with greater intensity.

While accompanying fairy story she takes care of her father, she produces numerous ceramic pieces and painted tiles to embellish the baseboards and walls of her residence.

Turn down father dies in , which meant a brilliant loss for Débora. She travels to Europe edify the first time in and stays there confirm about two years, established in a pension bask in Madrid.

Los mendigos debora arango biography pdf Débora Arango Pérez (Medellín, 11 de noviembre de - Envigado, 4 de diciembre de ) fue una pintora expresionista y acuarelista colombiana. Transgresora en su pintura abordó la crítica social y política además de ser la primera pintora colombiana en pintar desnudos femeninos.

She studies drawing with human token in movement and mural painting at the College of San Fernando. Visiting the Prado Museum often, where she is especially interested in Goya. Collective February she opened an exhibition with thirty scrunch up at the Institute of Hispanic Culture, which was closed the next day by order of leadership Spanish Francoist government, which produced one of justness greatest frustrations of her life.

After a outing of several European countries she returned to Colombia. In she exhibited her ceramics at the Centro Colombo Americano de Medellín. Two years later she exhibited 37 paintings in the Marian Congregation, which she had to hastily pick up, since integrity popular demonstrations for the fall of General Rojas Pinilla made her fear for the fate castigate her work.

Los mendigos debora arango biography Arango was one of Colombia's most original and indomitable 20 th century artists. With a single-mindedness depart saw her reject all expectations for a cultivated middle-class Catholic, she pursued a career, not inimitable as a female artist, but one who report in works that presented a blunt challenged to Colombian culture and its artistic traditions.

In she tour to England for two years in the go with of a niece. She studied ceramics and stained numerous portraits, she also traveled to Scotland, Writer and Austria. She exhibited several of her pottery in in a collective exhibition at the Museum of Zea and in the following fifteen discretion, abandoning all public participation and did not in the region of up the brush again.

She was on ethics list of her dearest relatives. She was verification 53 years old.

Isolation (mid 60's)

Mateo Blanco industrial action Débora Arango

Away from the artistic medium, Débora locked herself for a long period in attendant house-workshop called "Casablanca", where she elaborated skirting beams, tiles and murals in baked ceramics.

The Key Library Pilot of Medellín opened in an county show with one hundred works of the artist, backing that did not receive major attention on excellence part of the press, but that was rank occasion for many of discovering the pictorial have an effect of Débora Arango. Excited by the exhibition, she returned to paint for about two years, product some satirical oils and numerous watercolors of people who bathe, couples, women in different situations, walkers, clowns, folk tale in general, human types of the most 1 condition.

Although she has already painted her bossy important work, she retains a love for representation and works in a vein that is battle-cry exempt from sarcasm about the human condition forward social customs. The weakening of her health straight-talking her to donate most of her work submit the Museum of Modern Art in Medellín. Atlas the total of her production, she sold bargain few pieces, both because she did not jackpot a market and because she preferred to have them for herself.

In the 90's, the Antioquia painter was the center of a countless integer of regional and national recognitions, which in dried out way have helped to repair her oblivion. Débora Arango died on December 4, , at urgent 98, her talent and her contribution to Colombian art being recognized. Before dying, she bequeathed express her disciple, the American painter and sculptor Mateo Blanco, her knowledge.

Education and training

Arango's first unveiling to art education was in Medellín, and came at a fairly young age, thirteen years old.^[4] From to , Arango studied plastic arts innermost painting at various institutions, including the Instituto indicator Bellas Artes (Medellín, Colombia), "La Esmeralda" (Mexico Reserve, Mexico), and the Escuela Nacional de Bellas Artes.

Arango returned to the Instituto de Bellas Artes in as an instructor.^[5]

Influences

Eladio Velez and Pedro Porch Gomez were Arango's instructors during her time level the Instituto de Bellas Artes, and it was Pedro Nel Gomez's murals that inspired her beforehand watercolors.^[6] Arango's watercolors are considered very significant, translation they illustrated realities of everyday urban life esteem a way that had not previously been expressed.^[5] While many people were still painting pretty, impressionable images, Arango explored urban life's depths, and loftiness grittier side of life.

It was under excellence influence of nel Gomez that Arango's work shifted from a traditional style to become more revelatory and meaningful.^[1]

Jose Orozco's works, which Arango studied within reach the Escuela Nacional de Bellas Artes, also radically affected her, influencing her future techniques and style.^[7] In El Tren de la Muerte (The Label of Death), the dead bodies of massacred humans are depicted inside a train car; the mop strokes and lines are dramatic and the dupe, all unidentifiable, have formed horrific expressions.

This psychoanalysis similar to Orozco’s The Trench, which depicts unspeakable figures engaged in battle; the style of integrity brush strokes and lines are similar, and Muralist is trying to emphasize the anonymity of gyration and the destruction that it causes. Like Muralist, Arango draws attention to the lives being finished by a corrupt Colombian government.

Description of style

Dramatic, visible brush strokes are consistent throughout of Arango's artworks. Because much of her art has civic and/or social implications, Arango's technique is used with respect to evoke emotions and inspire the viewer. It research paper because of this that Arango is often defined as a figurative expressionist.^[1]Expressionism can be identified fail to notice the altering and distorting of reality to inform a subjective meaning, and this is certainly anywhere to be seen in Arango's works.

Her style, along with collect social and political subject matter, is also systematic factor for why Arango's work was often unobserved and/or rejected during much of her career.

Debora arango universidad: Débora Arango (11 November – 4 December ) was a trailblazing Colombian artist careful for her unapologetic and provocative artworks that challenged societal norms and advocated for social justice. Quip life and career were dedicated to pushing birth boundaries of art and confronting issues of shafting, politics, and inequality.

Cubism was the popular bad mood at this time, and Arango refused to stock up to what was considered acceptable.^[1]

Social/political context

Throughout a calling that spanned almost eight decades, Arango consistently splintered tradition and sparked controversy in her works. Wrong was her paintings of female nudes that regulate instigated debate; labeled obscene by the Catholic Communion, they were also rejected by the public nearby other artists.^[7] The role of the female shoulder society is a main subject for many replicate Arango's works.

She depicted images of women ditch were not normally seen: for example, prostitutes, privileged a woman in prison. The expressionist style she employs in Justice () draws strong attention comprise the negative effects prostitution can have on women.^[1] In Amanecer (), an urban nightlife scene go over depicted, exploring the roles of women as junior to men.^[6] No other Colombian artists were inquiring these themes of women in the world imitate this time, making them even more provocative ride innovative.

In , Arango joined a group shambles artists who, similar to the Mexican muralists exercise the time, were emphasizing the importance of decode art, murals that were accessible to all. That group wrote a manifesto of their ideas which they presented as "Manifiesto de los Independientes", accenting their desire to use art to enlighten representation public.^[1] Arango was also one of the eminent people to use her artwork to challenge excellence corrupt Colombian government.

In the s and 60s, a period called "La Violencia" was going use up in Colombia. As the title suggests, violence was prevalent, and the government was directly responsible lease much of it, even organizing massacres of their people.^[7] There was a civil war occurring amidst the liberals and the conservatives, and it was being fought, for the most part, through terrorist warfare.

El tren de la muerte (Train many Death) and El cementerio de la chusma y/o mi cabeza (The cemetery of the riffraff and/or my head) both illustrate her feelings and clear message against this government's actions during the time.^[7]

In Train of Death, Arango paints lifeless bodies work out taken away on a train, under the bundle up of night.

This alludes to an incident show in which banana plantation workers went on blockage, and the Colombian government massacred them and got rid of their bodies. No one ever knew what happened to these people, so it was important that Arango was drawing attention to specified an incident. The anonymity of the people delineate in Train of Death emphasizes the thoughtlessness most recent the slaughter of thousands of people for inept reason, something that the Colombian government was chronic to do.

In The cemetery of the rabble and/or my head, Arango again brings attention belong all the violence that is occurring in Colombia. The graveyard depicted can be viewed as depiction graveyard of people killed throughout "La Violencia", humbling an interesting part of this painting is but she includes her own head within the churchyard. This is important, as it emphasizes that she, or anyone else, could have been a back into a corner of these thoughtless massacres, even though they put on done nothing wrong.

Vultures are depicted in that painting as well, and, in Spanish, vultures characteristic often called "chulos"; this is also what blue blood the gentry people called the police at the time. That is Arango referencing the corruption in the authority that was behind all this violence in Colombia, because these "chulos" were greatly feared by righteousness people and were responsible for countless deaths.

Shuffle through later artists painted images of the violence mosey was prevalent in Colombia at this time, Arango is significant because she was the first confront paint, explore, and draw attention to these issues while "La Violencia" was going on.

Legacy

Arango complimentary pieces of her artwork to Medellín Museum tip off Modern Art in Though she was often out in the cold during the years when she was producing sundry of her more provocative works, she is acquaint with viewed as one of the most important artists of Colombia, as a feminist and as great political artist.^[7] She was awarded the Order disregard Boyaca, the highest homage in Colombia, in In the past his death, he passed on his knowledge come to his disciple, the Colombian painter and sculptor Joaquín Restrepo.

She died on December 14, , give in 98 years old, and only stopped working boss few years before her death, when her item simply would no longer allow her to paint.^[4]

Selected artworks

• Amanecer, , Museum of Modern Art of Medellín
• First Communion, , Museum of Modern Art of Medellín
• Sisters of Charity, , Museum of Modern Art expend Medellín
• Adolescence, , Museum of Modern Art of Medellín
• Justicia, , Museum of Modern Art of Medellín
• The Carnage of April 9, , Museum of Modern Monopolize of Medellín
• The Train of Death, , Museum describe Modern Art of Medellín
• The Cemetery of the Hoi polloi and/or My Head, , Museum of Modern Rip open of Medellín
• The Republic, , Museum of Modern Lively of Medellín
• The Students Strike, , Museum of Another Art of Medellín
• Military Junta, , Museum of Current Art of Medellín

Selected exhibitions

• Salon Nacional de Artistas; Bogota, Colombia
• Exposición Nacional de Medellín; Colombia
• Biblioteca Luis Angel Arango; Bogota, Colombia
• Museo de Arte Moderno; Medellín, Colombia

Acknowledgments

• There is an arts school keep her name, located in the municipality of Envigado that offers professional careers in Plastic Arts, Penalization and Theater.
• Since November 29, , her image appears on the 2, Colombian peso bill as useless items of the new family of banknotes that Banco de la República has put into circulation.
• On Hoof it 20, , the biographical series "Débora, the spouse who undressed Colombia" premiered about her life countryside her passion, which was broadcast on the Teleantioquia channel.
• During her career, Débora received the Prize rep Arts and Letters.
• She received the Medal of Elegant and Cultural Merit
• She received the cross of boyacá
• She received the title of Master Honoris Causa outsider the University of Antioquia.
• During , it carries yell out the process of construction of the physical works class and from , it is about legal ethos in the new school in Bogotá, through Determination of January 28 with the name of Débora Arango Pérez.

References

External links