Fernando Botero's
satirical portraits of
political, military and
religious figures,
musicians and royalty
are portrayed as rotund
and motionless, taking
on the character of
human still-life.
Humorous in nature at
first glance, Botero's
paintings are more often
than not social
commentary with
political overtones.
Born in Medellin,
Colombia, Botero moved
to Bogota in 1951 and
had his first
international show at
the Leo Matiz Gal.
Leaving for Madrid in
1952, he studied at the
San Fernando Academy
and, from 1953 until
1955, studied fresco
technique and art
history in Florence
which has influenced his
painting ever since.
Returning to Colombia,
he exhibited at the
Biblioteca Nacional in
Bogota and began
teaching at the School
of Fine Arts of the
National University; the
same year, he spent time
in Mexico studying the
political murals of
Rivera and Orozco, whose
influence is evident in
his political
perspective.
Botero's visit to the
United States in the
late 1950s prompted a
return to live and work
in New York for ten
years beginning in 1960.
Although Abstract
Expressionism interested
him, he sought his
primary inspiration from
the Italian Renaissance.
During this period he
began to experiment with
creating volume in his
paintings by expanding
the figures and
compressing the space
around them, a quality
which he continues to
explore whether painting
imaginary group
portraits or parodies on
the work of famous
masters.
Widely exhibited in
Europe and North and
South America, Botero
has received numerous
awards including the
First Intercol at the
Museum of Modern Art in
Bogota, and is included
in major museums
worldwide. Since the
early 1970s, Botero has
divided his time between
Paris, Madrid and
Medellin.
