Fernando Botero's Style of Art Research Paper Example | Topics and Well Written Essays - 1000 words

Fernando Boteros vogue of Art - Research Paper ExampleA p artistic productionicular artist may decide to strain on vegetation, animals or pictures with political thematic concerns and this becomes synonymous with their paintings. One artist that has a unique elan is Fernando Botero this paper will be a discussion of his air of art and an examination of other artists that bewitch his whole kit and caboodle. Any work of art with smooth inflated shapes and unexpected scales can easily be know as Fernando Boteros. Botero always uses an innovative way to bring out unique proportions. When asked the reason behind his style of art, Botero replies, No, I dont paint fat people, (Hanstein, 49). This is despite the fact that all the people in his paintings are well-fed, chubby and corpulent. All other things in his paintings including still works are voluminous and pursy out of proportion in a desirable way. Deformation as is synonymous with Boteros works may be outrageous when used na turally, however, for Botero it enhances a sensuous quality in his pictures and paintings (Hanstein, 49). Various people have tried to come up with reasons behind Boteros voluminous paintings. For example, Moravia sees somewhat psychological portion as motivation behind the heavy limbs works of art. He feels that certain aspects of suffering were being evince by Botero and the proportions that he employed were intended to make those sufferings painless. This may have been influenced by the revolution of Rivera and Orozco where in that respect was declaration of war in a place where poverty, injustice, dictatorship and violence were prevalent (Hanstein, 58). Therefore, through his enormous works of art, Botero may be trying to portray the world that had become enormously fat and self-complacent with various regressive events. Moravia feels that this may be Fernando Boteros view of the world and he always tries to render it in a discreet way. However, Botero insists that his wo rks are motivated by great passion for shapes, colour in and volume (Hanstein, 58). In the creation of his works, Botero pays homage to other prominent artists who tend to influence his creations. One such artist is the French painter Eduardo Manet. Just like Manet, Botero used to make art for various museums in Europe. This is due to the fact that Botero wanted to be diverse he was not only interested in the art of his own time but also the history of art (Sillevis, Elliot & Sullivan, 24). Latin-American folk art is also present in Boteros art this is evident in his use of flat, bright modify and forms that are boldly outlined. He is also famous for his formal portraits, emulated from his masters Francisco de Goya and Diego Velazquez (Sillevis, Elliot & Sullivan, 28). His portraits of the Spanish queen female horse Luisa and her corrupt court was able to bring out atrocities in the society (Sillevis, Elliot & Sullivan, 24). In the same way, he has done a number of his own portr aits and they also exhibit his form of distortion. According to Barnitz, Fernando Botero seems to have gotten a lot of inspiration from Enrique Grau, a Colombian artist born in 1920. Grau also engages in some form of distortion, a trademark in Boteros works. In addition to this, they both involve in academic painting, Enrique has always been known to use brush strokes in his paintings and in the 1950s, and Boteros works were ascertained to be incorporating this style in his works (257). This