PORTRAIT, STILL LIFE AND LANDSCAPE

To commemorate the 200th anniversary of the Independence of Antioquia University EAFIT invites to propose a view from contemporary art to the work of artist Francisco Antonio Cano, Antioquia (1865-1935). His iconic work Horizons had just been painted in 1913 to commemorate the first centennial.

The approach of the proposal:
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Portrait, still life and landscape themes that dominate the work of the painter Francisco Antonio Cano are taken up in this proposal to achieve an approach from the present, one hundred years later, to the artist's pictorial legacy. The three pieces that make this proposal:, "Self Portrait 2013“, "Still Life 2013" and "Crowd“, encourage immersion in the depths of the pictorial, expressive medium in which the artist was a pioneer in our country since the XIX century, with the expressive and conceptual art of new media in the XXI century.

Self -portrait 2013

The "Painter's Studio", 1885, as a theme and as a formal proposal evokes in many respects "Las Meninas" by Velázquez, 1656, which the artist must have known illustration in books, when he came to live in Medellin from his natal Yarumal, and was apparently inspired for that work. From there, as a subtle tribute, comes this “self-portrait" of 2013.

 

On the other hand, among several self-portraits throughout his life, being a very hand-some man, one from his middle age moved by the aesthetic of truth and acceptance of his huma-nity.From there, these reflections pictorial, as a subtle tribute, comes this "self-portrait" of 2013.

Still life 2013

Proposes a critical look at the transformation of the domestic intimate of Cano's time, to contem-porary prototypical domestic spatiality in our midst. The frame, as conceptual boundary of the picture, which at the time and the medium is quite innovative, is replicated to open a small window into our days.

Crowd

It proposes a new vision of landscape, one hundred years after the picture "Horizons" painted in 1913. The disappearance of the original land-scape gives way to the emergence of another contemporary landscape where the multiplication of the figure, the crowds as a phenomenon of the twentieth century, become in landscape them-selves and where, as in the Cano painting, also exceeds the horizon frame boundaries.

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Crowd, Digital Print on Cotton Canvas, 1.50 x 0.96 m. 2013

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