Botero at Palazzo Forti - AMO Museum

50 years of career celebrated in a great monograph

From 21 October 2017 to 29 April 2018

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After Tamara del Lempicka, Picasso and Toulouse Lautrec, the Amo Museum - Palazzo Forti is hosting a fascinating Fernando Botero exhibition in Verona celebrating the work of the South American master during his 50 year-long career (1958-2016)!

Dazzling figures and colours, oversized bodies, irony, nostalgia and the ubiquitous fairy-like atmospheres of Latin America ... After Botero’s exhibition in Rome, which ended last August, Fernando Botero exhibition in 2017 and 2018 in Verona will end the celebrations for the 85th artist’s birthday, who has already gained a place in the hall of fames of the greatest arts geniuses.

Running from 21st October, 2017 to 29th April, 2018 the Fernando Botero exhibit in Verona at the Amo Museum is co-produced by the Arthemisia Group and MondoMostreSkira and promoted by Arena Extra.

Female nudes, cards players, circus performers, prelates ...The characters portrayed by Botero do not show emotions or moods: the artist depicts people in all their varieties, without expressing any judgment, and lets them free to live their everyday life, often out of the ordinary and untouched by any psychological and moral description. His works appear to be reminiscent of a surreal and peaceful world, almost enclosed in a glass ball.

His work does not pertain to a specific genre, Botero has his own style, unique and very personal, which can be interpreted and appreciated at any place and time. The constant references to classicism in his works are framed by a vision that often contains thoughts on the political and social events of today’s world. Painting is for him a necessity, but also the incessant search for an ideal representation that is never to be achieved, his poetics has long anticipated the contemporary vision of art devoid of confines.

Botero exhibition in Verona – at the Amo Museo, is divided into 8 thematic sections that cover his long and fascinating career:

  • Section I – Sculptures
    In spite of his all-round representations, which seem to be almost projecting out of the canvas, the transition from painting to sculpture does not appear to have occurred seamlessly: thanks to a special attention to the shape and nature of his characters, the artist nonetheless succeeds in conquering the surrounding space, and, to the contrary, he often enriches it with solemnity and mystery, despite the absence of colors, a distinctive element of Botero's art.
    Drawing inspiration from Etruscan statutes and those of Aristide Maillol and Costantin Brancusi, Botero does not stray away from the focus on forms and the pursuit of a personal style that have always guided his work: even in three-dimensional works Botero does not refrain from conjuring up unreal and magical atmospheres, where figures are inflated and edges softened. In Botero exhibit in Verona, 2017, you can admire, among other things, 'Lying-down Woman', Dancers' and 'Horse with bridle'.
  • Section II - Versions from Past Masters
    Fernando Botero has managed to create a harmonious fusion between his origins and passions: during his journeys to Europe he enters into contact with the works of Giotto, Piero della Francesca, Leonardo, Mantegna, Velázquez, Goya, Dürer and Rubens, Manet and Cézanne, and questions himself to finally establish a kind of idyllic relationship between past, modernity and admiration.
    Fernando draws inspiration without resorting to imitation... He reinterprets in his own way famous paintings and brings them in to his magical universe of poetry, always faithful to his vision of space, volume, line and color. He tries to preserve their spirit, often with irony but never without being disrespectful, to offer a sort of tribute to the genius of the great masters with skill and perspicacity, as in the portrait of Rubens and His Wife (2005), where the intimate atmosphere can still be perceived even after being reinterpreted in Botero’s style, in the gargantuan 'Infanta Margarita Teresa' (2006), a tribute to Velasquez, or in the sensual and delicate portrayal of Raffaello's La Fornarina (2008).
  • Section III – Still Lifes
    Botero exhibition in Verona, Italy, has also a section dedicated to still lifes which, since the end of the 60s, have played a major role in the master's work, becoming almost an obsession. As with the human figure, even inanimate objects are rendered as soft and dilated: in his still lifes, each element appears as it is, beyond the purely stylistic demands dictated by the Botero's style, and the color becomes an element of further balance. Amongst the works displayed at Fernando Botero exhibition in Verona, in 'Still Life With Fruits and Bottle' (2000), one can discern the classical canons of the master in the equivalent scenes of Francisco de Zurbarán and Paul Cézanne.
  • Section IV – Religion
    The fourth section of Botero exhibition in Verona is dedicated to the artist's relationship with religion, the fundamental theme of his poetry. The fairy-tale atmosphere enveloping Botero’s characters represent a world in which reality has to comply with the imagination that determines people's attitudes and thoughts: in this context, religion becomes an example of the supernatural permeating everyday life and translates into surprise, contemplation and thinking that defines things and people.
    In 'The Seminary' (2004) characters are depicted as the innocent guardians of a sentiment that flows from the reader lying on the floor in the foreground to the praying prelate to his side and the composure of the remaining characters; when admiring 'Walk in the Hills' (1977), you will find that Botero's perceptive and creative approach succeeds in bringing to life even a Monsignor who is praying the rosary surrounded by greenery with the majestic composure of the dress he wears but at the same time as evanescent as a cloud.
  • Section V – Politics
    His accessible painting, his attachment to South American culture and the daily life of his homeland are also evident in the works dedicated to ruling power, paintings in which Botero continues to refrain from expressing any personal judgment and instead turns his attention to the multicolored dresses of presidents, ministers and ambassadors and the elegance of first ladies. These paintings arouse curious and bring a smile to your face, such as 'The President and His Ministers' (2011), a lavish parade of generals, prelates and politicians intent on pleasing the president who stands in the center of the scene.
  • Section VI - Latin American Life
    'In my paintings you will find the world that I knew when I was very young in my homeland. This is a kind of nostalgia which I have made the centrepiece of my work. [...] I've lived for fifteen years in New York and many years in Europe, but this has not changed anything in my disposition, my nature and my Latin American spirit. Communion with my country is total'. From these words one can learn much about the style of an artist born between the polychrome sculptures of colonial art, the essential language of folk art and pre-Columbian art. Although his poetry has refined over the years, the immediacy and the narrative strength acquired in his youth remain a cornerstone of his production. In the background of his work there remain the stories and atmospheres of South America, characters appear unperturbed as they stare at the viewer from enchanted landscapes where mannerisms and attitudes are permeated by a sweet harmony. In this section of Fernando Botero exhibition 2017 you can admire 'Road' (2000) – an equilibrium of encounters and happenings devoid of any urgency, where movements remain suspended in the air; 'At the Park' (2006) where the characters seem to be the custodians of a behavioral and contemplative placidity, also found in the unperturbed lovers of 'Picnic' (2001) and 'Sisters' (1969-2005) depicted in a contrived photography pose.
  • Section VII – Nudes
    The penultimate section of Botero exhibit verona 2017 is dedicated to nudes, which are always emphasized by oversized forms that seem reminiscent of the art of Rubens. Unlike the Flemish though, Botero's nudes are serene and detached, belonging to a world where there is no room for innuendos.
    The nudes of the South American artist achieve a perfect balance between shapes, concepts and nostalgia: the figures are graceful despite being clearly exaggerated, their form evokes a primordial Eden where there is no sin or deceit and the unperturbed subjects make the viewer feel in tune with the represented scenes. In this light, you should not be surprised to see 'Adam and Eve' (2005) candidly gazing at each other while being threatened by the red snake or, in 'The Bath' (1989), the overly proportioned woman’s body occupying the entire canvas.
  • Section VIII – Circus
    The Fernando Botero exhibit Verona, Amo Museum, ends with the theme that perhaps more than others has contributed to the fame of the Colombian genius. The dreamy vivacity, the magic and the colors of this world are perfectly in tune with the poetics of the artist, and he himself seems to feel excited to depict a spectacle that is both ancient and modern, in the past portrayed by artists such as Picasso and Chagall.
    Botero shows circus life in all its facets, from rehearsals to performances, lulled moments and feasting times, and portrays the main characters with great passion... Pierrot, Arlecchino, the riding woman, the clowns, elephants and horses: Botero's style is particularly apt at transferring this world and the emotions it triggers on viewers onto the canvas.

Fernando Botero

An early talent – suffice it to say that his first solo exhibition was staged when he was only 19 - Fernando Botero is today one of the greatest South American artists of all time.

A painter and sculptor, Botero was born in Madellin, Colombia, on 19th April, 1932. In 1952 he decided to use the prize money he won at the 9th Colombian Artists Show for a trip to Europe, during which he came into contact with the art of the Old World becoming fascinated by it. From here, his life is a succession of vicissitudes... He lives in Colombia, Mexico, the United States and Europe, ties the knot three times and achieves worldwide recognition.

In 1980s Botero bought a house in Pietrasanta Tuscany, its siting testified by a work, almost 4 meters in size, that stands out in the square of the village.

Fernando Botero exhibition in Verona: from 21st October, 2017 to 29th April, 2018, do not miss the chance to admire over 50 masterpieces of the Colombian master in a great exhibition at AMO - Palazzo Forti!

 

Botero exhibition verona italy - Times

  • Monday 2.30 pm to 7.30 pm
  • Tuesday to Sunday 9.30 am to 7.30 pm

Special openings

  • Wednesday 1st November 9.30 am to 7.30 pm
  • Friday 8th December 9.30 am to 7.30 pm
  • Sunday 24th December 9.30 am to 7.30 pm
  • Monday, 25th December 2.30 pm to 7.30 pm
  • Tuesday 26th December 9.30 am to 7.30 pm
  • Sunday 31st December 9.30 am to 5.30 pm
  • Monday 1st January 12.30 pm to 7.30 pm
  • Saturday 6th January 9.30 am to 7.30 pm

The ticket office closes an hour prior.

By Insidecom Editorial Staff