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Teodoro Núñez Ureta

Teodoro Núñez Ureta

From Wikipedia, the free encyclopedia
Teodoro Núñez Ureta

Teodoro Núñez Ureta in 1982.
BornTeodoro Núñez Ureta
1912
Arequipa
Died1988
Lima
NationalityPeruvian
Occupationpainter, writer

Dr. Teodoro Núñez Ureta (1912–1988) was a Peruvianpainter and a writer, noted for an original and distinctive style in Latin American art. His work often celebrated the life of the simple people of the Andes and the countryside, as distinct from a Spanish colonial legacy which had tended to ignore such topics. A child of a poor family in the provincial city of Arequipa, he began to learn to draw and paint on his own. His talent was discovered and nurtured at the Centro Artístico de Arequipa under Jose G. Alvarez. His artistic and academic studies continued to [detail needed] a Doctorate of Philosophy and Letters, with theses titled "Comrade Juarez" and "The Grotesque and the Comic in Art".

He became a professor and ultimately held the Chair of Art History and Aesthetics (1936–1950), at the Faculty of Arts of the Universidad Nacional de San AgustinUniversidad Nacional de San Agustín de Arequipa. His costumbrista article "La Abuela" (The Grandmother) won him a National Journalism Award in 1943. His unique talents drew attention throughout Peru, especially in the national capital. Lima was more cosmopolitan than Arequipa, with an expatriate European contingent among its elite; this provided Núñez Ureta's reputation a conduit to international recognition. Art patrons Federico and Alice Gulda introduced him to art and literary circles abroad. This led to sponsorship of the John Simon Guggenheim Memorial Foundation and travels around the United States in (1943-1944.)List of Guggenheim Fellowships awarded in 1943. His book "The Academy and Modern Art" followed in (1945). Núñez-Ureta established himself in Lima from 1950. In 1959, he won the Ignacio Merino National Prize of Culture.[1].

He was Director of the National School of Fine Arts (1973–1976)es:Escuela Nacional de Bellas Artes de Lima and President of the National Association of Writers and Artists (1978–1980). During his lifetime he traveled often, exhibiting his work throughout Latin America, North America, Europe and the former Soviet Union. He was Peru's best known muralist and painted Diego Rivera-like murals in Lima's Ministry of Education and Finance. He published "Siqueiros" (1976) and "Contemporary Peruvian painting" in two volumes (1975–1976). His story "La Waytacha" (1980) was translated into Russian, English and Bulgarian. Through poetic symbolism it presents the frustrations of a poor farmer who migrates to the city, only to suffer a constant yearning for his native land; the story represents a dominant Latin American social phenomenon. "The Life of the People" (1982), was an exhibition of 68 watercolors and 35 drawings intended to depict and criticize social customs. He traveled to Sofia in 1980 at invitation of UNESCO to be decorated by the Circle of Writers and Artists of Bulgaria. Núñez-Ureta's politics were populist and leftist, but with a strongly humanitarian bent, which endeared him particularly to the Non-Aligned countries during the Détente era.

In the 1980s, his country declared him "Hijo Predilecto" (Favored Son) and awarded him a "Golden Texao." His native city of Arequipa awarded him its Gold Medal and the City of Lima its Civic Medal (1985). His career continued to earn the recognition of the Peruvian State. His country awarded him its highest honor, the Orden del Sol, with Grand Cross (1982); Medal of Congress with the Grade of Commander (1982) and Las Palmas Magisteriales, with the degree of Amauta (1988). The Fondo Editorial of the Congress of the Republic of Peru has published a compilation of his works, Lucy Nunez Rebaza editor,[1].

Contents

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Fuente:wikipedia

Teodoro Núñez Ureta

Teodoro Núñez Ureta

Teodoro Núñez Ureta
Teodoro Núñez Ureta.jpg
Teodoro Núñez Ureta en 1982.
Nombre de nacimientoTeodoro Núñez Ureta
Nacimiento1912
Arequipa, Bandera del Perú Perú
Fallecimiento1988
Lima, Bandera del Perú Perú
Nacionalidadperuana
ÁreaPintor, muralista.
EducaciónEscuela Nacional de Bellas Artes

Teodoro Núñez Ureta (Arequipa, 1912Lima, 1988) fue un pintor peruano de formación autodidacta, llegó a ser director de la Escuela Nacional de Bellas Artes de Lima entre los años 1973 y 1976.

Contenido

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[editar]Biografía

Teodoro Núñez Ureta nació en Arequipa en 1912. Su formación fue autodidacta según él mismo refirió y por testimonios de sus amigos generacionales y hermanos menores, entre ellos la poetisa Carmela Núñez Ureta. En su infancia gustaba salir al campo a pintar solo o con la compañía de su familia y del maestro Enrique Masías quien lo alentó a que se dedicara a las artes plásticas al ver su habilidad sobresaliente para el retrato y el paisaje, en su adolescencia practicaba la acuarela en el campo con su hermano Alejandro Núñez Ureta, siendo este hermano menor, años después, compañero, amigo y maestro de campo del pintor Luis Palao Berastain.

Sus estudios autodidactas los pudo realizar gracias a que su padre, don Pedro Núñez Ponce, trabajó en la antigua librería Emmel de Arequipa, por lo que obtuvo tempranamente libros referentes al arte europeo. Luego, realizó en su adolescencia estudios autodidactas sobre Francisco de Goya, Rembrandt Van Rijn y Diego Velázquez, dibujos que actualmente están bajo la custodia de la Asociación Cultural Perú Arte Valor.

Al terminar su secundaria en el Colegio de la Independencia Americana, estudió para optar los grados de Doctor en Filosofía y Letras en la Facultad de Letras de la Universidad Nacional de San Agustín. Logró su objetivo con una tesis sobre "El Compañero Juárez" y "Lo Grotesco y lo Cómico en el Arte". Luego, incorporado a la docencia, regentó las Cátedras de Historia del Arte y Estética (1936–1950).

Con el artículo costumbrista "La Abuela", se hizo merecedor del Premio Nacional de Periodismo de 1943. Con él auspicio de la Fundación Guggenheim, viajó a Estados Unidos (1943–1944). Escribió el libro "Academismo y Arte Moderno" (1945). Establecido en Lima, desde 1950, en 1959 mereció el Premio Nacional de Cultura Ignacio Merino gracias al mural que realizó en el Ministerio de Economía, Finanzas y Comercio en el año de 1954, denominado "Construyendo el Perú" en la técnica de pintura al fresco (6.00m x 16.00m), el cual es considerado una de las obras cumbres del pintor en su trabajo como muralista.

Fue director de la Escuela Nacional de Bellas Artes de Lima (1973–1976) y presidente de la Asociación Nacional de Escritores y Artistas (1978-1980). Exhibió su obra en Lima, Arequipa, Chile, Venezuela, Panamá, México, Canadá, Estados Unidos, Rusia, Suecia y Bulgaria.

Publicó "David Alfaro Siqueiros" (1976); "pintura Contemporánea Peruana", dos volúmenes, (1975–1976). Escribió "La Waytacha" (1980), cuento traducido al ruso, inglés y búlgaro, que a través de un poético simbolismo, presenta las frustraciones del campesino de la urbe e induce al amor por la tierra; y "La Vida de la Gente" (1982), que reproduce 68 acuarelas y 35 dibujos, enderezados a criticar o narrar tipos sociales y costumbres. Asistió a Bulgaria en 1980 invitado por la Unesco y el Gobierno de Sofía, siendo condecorado por el Circulo de Escritores y el de Artistas Plásticos de ese país.

Su tierra natal lo ha declarado "Hijo Predilecto" y le otorgó el "Texao de Oro" además de la Medalla de Oro de la Ciudad de Arequipa. Asimismo, en la capital se le concedió la Medalla Cívica de la Ciudad de Lima (1985). Su brillante trayectoria ha merecido el reconocimiento del Estado peruano en el segundo gobierno del Arq. Fernando Belaúnde Terry y fue condecorado con los más altos galardones: Orden "El Sol del Perú" en el Grado de Gran Cruz (1982); Medalla del Congreso en Grado de Comendador (1982); y las Palmas Magisteriales en el grado de Amauta (1988)en el primer mandato de Alan García. Recientemente el Fondo Editorial del Congreso de la República del Perú ha publicado una compilación de Lucy Núñez Rebaza de la obra literaria del Dr. Teodoro Núñez Ureta.

[editar]Obra mural

  • Don Quijote y Sancho Panza, Club Arequipa 1.61 m.x 2.50 m. (1944)
  • La campiña arequipeña, Hotel Libertador-Arequipa 1.70 m. x 7.00 m. (1948)
  • La ciudad de Arequipa, Hotel Lobertador-Arequipa 1.70 m. x 7.00 m. (1948)
  • La Patria, Colegio Militar Coronel Francisco Bolognesi 3.10 m. x 8.00 m. (1953)
  • La Educación en el Perú, Ministerio de Educación. Lima 3.10 m x 35.00 m. (1955-1963)
  • La construcción del Perú, Ministerio de Economía, Finanzas y Comercio. 6.00 m. x 16.00 m. (1954)
  • Miraflores I y Miraflores II, Municipalidad de Miraflores. Lima. 1.98 m. x 6.00 m (c/u). (1960)
  • La Independencia del Perú, Lima. 4.00 m. x 6.00 m. (1971)
  • Murales del Banco Continental, Mercado aldeano y Mercado popular. Lima 1963.
  • Murales de Tarma, Mercado Aldeano, Paisaje aldeano I, Paisaje aldeano II. (1954)

[editar]Referencias

  • Núñez Ureta, Teodoro (1975). Siqueiros. CIUDAD: Lima EDITORIAL SAN MARCOS. ISBN Nº13.
  • Teodoro Núñez Ureta. CIUDAD: Sofía-Bulgaria EDITORIAL DEL GOBIERNO DE SOFÍA. 1985. ISBN n.a..
  • Antonio de Lavalle, José (1975). Arte y Tesoros del Perú. CIUDAD: Lima EDITORIAL BANCO DE CRÉDITO DEL PERÚ. ISBN NºMCMLXXV.
  • Núñez Ureta, Teodoro (1980). La Waytacha. CIUDAD: Lima EDITORIAL ARTE GRÁFICA "JVG" E.I.R.Ltda.. ISBN Nºn.a.
  • Núñez Ureta, Teodoro (1982). La Vida de la Gente. CIUDAD: Lima EDITORIAL BANCO DE LA NACIÓN. ISBN Nºn.a.
  • Tord, Luis Enrique (1989). Teodoro Núñez Ureta Pintura Mural. CIUDAD: Lima EDITORIAL FONDO DEL LIBRO DEL BANCO INDUSTRIAL DEL PERÚ. ISBN Nºn.a.
  • Núñez Ureta, Teodoro (1998). La Voz del Hombre. CIUDAD: Arequipa EDITORIAL UNSA. ISBN Nºn.a.
  • Fuente:http://es.wikipedia.org/wiki/Teodoro_N%C3%BA%C3%B1ez_Ureta

Peruvian art

Peruvian art

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Peruvian art has its origin in the Andean civilizations. These civilizations rose in the territory of modern Peru before the arrival of the Spanish.

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[edit]Pre-Columbian Art

A detail of the Raimondi Stela. This stela was found out of its original placement at the ceremonial complex, Chavín de Huantar. It was cited by Pablo Picasso as an inspiration for his art.

Peru's earliest artwork came from the Cupisnique culture, which was concentrated on the Pacific coast, and the Chavín culture, which was largely north of Lima between the Andean mountain ranges of the Cordillera Negra and the Cordillera Blanca. Decorative work from this era, approximately the 9th century BCE, was symbolic and religious in nature. The artists worked with gold, silver andceramics to create a variety of sculpture and relief carvings. These civilizations were also known for their architectureand stone sculpture.

Between the 8th century BCE and the first century CE, theParacas Cavernas and Paracas Necropolis cultures developed on the south coast of Peru. Paracas Cavernas produced complex polychrome and monochrome ceramics with religious representations. Burials from the Paracas Necropolis also yielded complex textiles, many produced with sophisticated geometric patterns.

The third century BCE saw the flowering of the urban culture, Moche, in the Lambayeque region. TheMochica culture produced impressive architectural works, such as the Huacas del Sol y de la Lunaand the Huaca Rajada of Sipan. They were expert at cultivation in terraces and hydraulic engineeringand produced original ceramics, textiles, pictorial and sculptural works.

Another urban culture, the Wari civilization, flourished between the 8th and 12th centuries inAyacucho. Their centralized town planning was extended to other areas, such as Pachacamac,Cajamarquilla and Wari Willca.

Between the 9th and 13th centuries CE, the military urban Tiwanaku empire rose by the borders ofLake Titicaca. Centered around a city of the same name in modern-day Bolivia, the Tiwanaku introduced stone architecture and sculpture of a monumental type. These works of architecture and art were made possible by the Tiwanaku's developing bronze, which enabled them to make the necessary tools.

Urban architecture reached a new height between the 14th and 15th centuries in the Chimú Culture. The Chimú built the city of Chan Chan in the valley of the Moche river, in La Libertad. The Chimú were skilled goldsmiths and created remarkable works of hydraulic engineering.[citation needed]

The Inca Civilization, which united Peru under its hegemony in the centuries immediately preceding the Spanish conquest, incorporated into their own works a great part of the cultural legacy of the civilizations which preceded it. Important relics of their artwork and architecture can be seen in cities like Cusco, architectural remains like Sacsahuaman and Machu Picchu and stone pavements that united Cusco with the rest of the Inca Empire.

[edit]European influences

Peruvian sculpture and painting began to define themselves from the ateliers founded by monks, who were strongly influenced by the Sevillian Baroque School. In this context, the stalls of the Cathedralchoir, the fountain of the Main Square[1] of Lima and a great part of the colonial production were registered. The first center of art established by the Spanish was the Cuzco School that taughtQuechua artists European painting styles. Diego Quispe Tito (1611-1681) was one of the first members of the Cuzco school and Marcos Zapata (1710-1773) was one of the last.

Painting of this time reflected a synthesis of European and indigenous influences, as is evident in the portrait of prisoner Atahualpa, by D. de Mora or in the canvases of the Italians Mateo Pérez de Alesioand Angelino Medoro, the Spaniards Francisco Bejarano and J. de Illescas and the Creole J. Rodriguez.

During the 17th and 18th centuries, the Baroque Style also dominated the field of plastic arts. In the 19th century, French neoclassic and romantic currents found their best representatives in L. Montero,Ignacio Merino and Francisco Masias.

[edit]Indigenous movement

The establishment of the Fine Arts School of Lima (1919) had a decisive influence on Peruvian sculpture and painting.

In sculpture, some of the most remarkable artists include Luis Agurto, L. Valdettaro, Joaquin Roca Rey, J. Piqueras, Alberto Guzmán, Victor Delfín and F. Sánchez. Among the painters, Daniel Hernández, R. Grau, Cesar Quispez Asin and Jose Sabogal are particularly notable. Sabogal headed the indigenous movement, which was one of the main influences on Peruvian contemporary painting. Some of the most widely recognized painters are Fernando de Szyszlo, Alberto Davila, Armando Villegas, Sabino Springett, J. Alberto Tello Montalvo, Victor Humareda, M. A. Cuadros, Angel Chávez,Milner Cajahuaringa, Arturo Kubotta, Venancio Shinki, Alberto Quintanilla (wiki Es), G. Chávez, Tilsa Tsuchiya, David Herskowitz, Oscar Allain, Carlos Revilla and Sérvulo Gutiérrez.

[edit]References

  1. ^ Fountain of the Main Square of Lima

[edit]See also