Fernando Botero is considered as the living, most important, internationally re-known and globally acclaimed Latin American artist, whose notion of esthetics is, without doubt, an icon in contemporary art today. To say that Botero paints fat people would be limiting and even banal, as his primary interest lies on form and volume. His particular style has led him to create his own personal form of esthetics, which is now thought of as a model one must turn to when speaking of art history. Even though for Botero volume is the major esthetic element in his work, he also maintains that the use of color and the composition of forms are as important. As such, he is considered not only an exceptional painter, but also a great draftsman in his use of graphite pencil and watercolor. Botero is likewise considered a great sculptor, thought of as being able to master multiple art languages as very few world artists have been able to achieve.
The monumental size of his works derives, as Carlos Fuentes writes in his book Botero, Women, from a need to conquer space: "There are no fat people in Botero's works. There is wide space. There is spacious amplitude, which convokes its own plenitude." Botero's line of work, characteristic of his powerful way of seeing, brings forth a unique and fascinating approach to the story of art, as he is seen today, undoubtfully, as the representing image of the modern artist in constant transformation.
As Colombian artist, writer and critic Juan Gustavo Cobo Borda says, it is probably Botero's "long lasting Colombian traits and vigorous creativity" which account for his power to seduce the masses. It is Botero's versatile expressiveness, his deep and constant love for the story of art, his permanent connection with Colombia (his country of origin), in dealing with the development of the subject matter in his work and the representation of his own personal characters, which account for his constant interest and concentration in his work, in his next achievement, his next painting or sculpture.
As Eduardo Serrano Rueda, art critic and historian, author of numerous art books and articles on art and a great connoisseur of Botero's work says: I have always admired in Botero's work his original art language of full and abundant forms, without shadows or textures, and his master ability to exalt volume in painting as never before seen. Likewise, his ability to deal with aspects pertaining both to art history and Colombian culture, and his gift of humor and irony as dealt with in his work. Perhaps, what I am interested most in Botero's work is its power to appeal to any public, of any race, country or continent, with no need for an explanation of any kind.
Ozalp Birol, art historian and director at the Pera Museum in Istanbul, where Botero recently opened another retrospective exhibition of his work, has said: Botero's work is not exclusively a narration or representation of something. His art deals with a deeper, inner, strong way of seeing, which enters the door of life and protects his national and Latin American identity. Botero has succeeded in affirming his own style, drawing not only on folk elements of his culture but also, on the works of great masters of art history, bringing forth an inner richness in a sophisticated, humorous and wise manner.
No other artist has exhibited as widely and importantly around the world as this Colombian painter and sculptor, in major art scenarios. His present show at Galerie Bhak in Korea sums as yet another of his many more exhibitions to come, always as a delight to spectators and collectors alike, as Botero's imaginary and esthetic creations appeal to everyone's heart.
'Fernando Botero and the Sensuality of Forms' -- Maria Cristina Pignalosa
Bogotá, November 2010.
