• LUIS CRUZ AZACETA. CITY PAINTER OF HEARTS.
1981.
ACRYLIC
ON
CANVAS, 182.8 X 304.8 CM, (TWO PANELS). COLLECTION OF MR. AND MRS.
DAVID WORKMAN,
STAM-
FORD, CONNECTICUT, U.S.A. PHOTOGRAPH BY ERIC POLLITZER FURNISHED BY FRUMKIN/ADAMS GALLERY, NEW YORK, U.S.A.
the Venezuelan Carlos Prada (b. 1944). In his painting the Venezuelan Edgard Sanchez (b. 1940) successfully meets all dramatic challenges, as does the Colombian sculptress Beatriz Echeverri (b. 1938) in her treatment of the human body. Realism finds a third form of expression in the grotesque. The sources from which this trend derives are many; among others one can recognize vaguely the hand of such masters as the Colombian Fernando Botero, the Englishman Francis Bacon, and the Dutchman Karel Appel. It is local reality that supplies the basic material, however—the deforming effect that Latin American society has on individuals, acts, and situations. Among the representatives of this trend are the Argentine Hugo Sbernini (b. 1942), Antonio Moya (born in Spain in 1942, active in Venezuela), the Venezuelan Alirio Palacios (b. 1944), the Nicaraguan Dino Aranda (b. 1945), and the Colombians Jorge Mantilla Caballero (b. 1946) and Francisco Rocca (b. 1946). Ugliness and deformity continue to crop up throughout the '70s, treated in a variety of ways by figures such as the Colombian Maria de la Pazjaramillo (b. 1948) and three artists born in 1949: the Argentine Jorge Alvaro, the Colombian Felix Angel, and the Venezuelan Anita Pantin. Colombia has been particularly prolific in artists in this line, owing doubtless to the stimulating example of Fernando Botero. The variations run a wide gamut, from the figures tied up and hanging by their feet painted by Sonia Gutierrez (b. 1947) to the huge, flat figures of Alberto Sojo (b. 1956) and the
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• 162 • NEWCOMERS AND NEW TRENDS