ALIRIO ORAMAS

Montura: Sin montura Framework: Frameless

Alirio Oramas VENEZUELA

B.1924

CODE AOP060 –

D.2016

TITLE

UNTITLED

DATE / #/EDITION

1992 / 18/100

SIZE (cm)

70x50

TECHNIQUE

SERIGRAPHY / HAND SIGNED

Some Collections Athenaeum of Caracas / Athenaeum of Valencia, Edo. Carabobo / Mercantil Bank, USA / Central Bank of Venezuela / World Bank WB / CONAC / National Art Gallery / Government of the State Zulia, Maracaibo / Museum of Contemporary Art of Caracas Sofia Imber MACCSI / Mamja / Maraven Petroleum, Caracas / Museum of Fine Arts Arts MBA / Central University of Venezuela UCV / National University Open (UNA) / CAF

https://www.youtube.com/watch?v=pZAMdCqb164 https://www.youtube.com/watch?v=7qbFf4vwb38 http://www.museovirtual.gob.ve/creadores/714/alirio_oramas http://publicaciones.caf.com/media/41417/caf-catalogoarte-web.pdf https://es.wikipedia.org/wiki/Premio_Nacional_de_Artes_Pl%C3%A1sticas_de_Venezuela

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CODE AOP060

Alirio Oramas VENEZUELA

–

D.2016

TITLE

UNTITLED

DATE / #/EDITION

1992 / 18/100

SIZE (cm)

70x50

TECHNIQUE

SERIGRAPHY / HAND SIGNED

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makes ceramics in the Savigni workshop in Montparnasse (Paris), together with Fonseca; that year she participates in the Salon de Mayo in Paris and meets Lucila Maza Zavala, an art student with whom she marries the following year. Finally he settled in Barcelona (Spain), where he worked in restoration in the City Museum. Meet Joan Miró, and paint and exhibit with artists such as Antoni Tàpies, Modest Cuixart, Rafael Canogar and Josep Guinovart. In 1956 he returned to Venezuela and made four murals for the University City of Caracas, three for the Central Library and one for the Faculty of Architecture and Urbanism, with motifs arising from the progressions worked in Paris. In 1958 he made polychromies for the Banco Obrero. In 1959 he traveled to Rome, where he broke with geometric painting and ventured into informalism, giving prominence to the gesture over forms; in that period he works with assemblies and collages of large format. In 1961 he participated in the Venice Biennial with Works informalists like Teddy Boy and L'operatio. Travel to Paris and work with action painting. In 1962 he returned to Italy, where he was hired by the El Cavalino Gallery (Venice) and took a restoration course at the Istituto Nazionale per il Restauro (Rome). He returned to Venezuela in 1963 and, the following year, began teaching at the Cristóbal Rojas School. In 1965 he founds the Peripheral Workshops of Art of Inciba, the Taller El León de Oro (with other artists) and, later, the expansionist movement with Omar Carreño.

From 1966 he began to use the apple in his work as leitmotiv, with the use of templates and spray paint with transparencies. In 1974 he founded, together with Lucila de Oramas, the Armando Reverón Museum (Macuto, Edo Vargas), which he directed until 1977. In this museum he tries to recover the atmosphere of the Castillete and the artist's objects that, at that time, were not yet a formal collection. In 1977 he organized an important exhibition of objects of Reverón in the Emilio Boggio Museum. In 1980 temporarily occupies the position of director of the Museum Emilio Boggio as substitute. Since 1981 he performs performaces, such as El coito de Adán y Eva (MBA, 1981), The Creation of Adam (Parque Central, Caracas, 1982), El paso de Mercurio and El asesinato de la paleta (both in the GAN, 1985). ). In 1983 he traveled to Paris

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Alirio Euclides Oramas Principe Birth: August 30, 1924. Caracas-Venezuela. Death: January 3, 2016.

Caracas-Venezuela Painter. Son of archaeologist Luis Ramón Oramas, who was director of the botanical garden of El Calvario Park, and Blanca Príncipe. He became interested in painting early and made drawings of petroglyphs and ceramic pieces to illustrate his father's publications. In 1944 he finished high school at the San Ignacio de Loyola School and, between 1945 and 1946, he worked as a primary teacher at the Vicente Salias School in Los Teques, while attending specialization courses at the Experimental School Venezuela (Caracas).

Meet the Uruguayan sculptor Germán Cabrera, who motivated him to enroll in the School of Plastic and Applied Arts (1946), where he was a disciple of Juan Vicente Fabbiani and Rafael Monasteries in drawing and Pedro Ángel González in engraving. For a time I have collaborated in Luz Magazine and makes linocuts and drawings. I continue teaching until I receive a scholarship that allows him to paint in his workshop. It is part of the group La Barraca de Maripérez, after having been expelled along with other students of the School; in 1948 the Free Art Workshop was founded, which he directed until 1951. In 1950 he published the magazine Taller and, in May of that year, he appeared subscribing the third issue of the magazine Los Disidentes. In this period, his pictorial work follows a constructive expressionist tendency, which characterizes the series of The chairs, The Mandingas, The ports and The parrots. He assists his father in archeology projects and visits Armando Reverón on several occasions in Macuto In 1951 he received the National Prize for Plastic Arts in the XII Official Hall for his work Papagayos (also called Kites and parrots, GAN collection), in which a study of geometric shapes is perceived. In 1952 he traveled to New York and then moved to Paris, where he attended the La Grande Chaumière Academy and the Abstract Art Workshop of Jean Dewasne and Edgar Pillet. Visit to Georges Braque and André Breton; for a time he shares a room with Sam Francis and Gonzalo Fonseca, and then moves to a studio on 22 rue du Seine. In 1952 he exhibited "The progressions" (Arnaud Gallery, Paris), with a geometric tendency. At the School of the Louvre he studied art history, archeology and museology, areas that he also perfected at the Museum of Man and the Museum of Monuments and Popular Traditions in Paris. Between 1953 and 1955 he travels through Europe, in 1954 he

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B.1924

CODE AOP060

Alirio Oramas VENEZUELA

–

D.2016

TITLE

UNTITLED

DATE / #/EDITION

1992 / 18/100

SIZE (cm)

70x50

TECHNIQUE

SERIGRAPHY / HAND SIGNED

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/ Andrés Pérez Mujica Award, XXIV Arturo Michelena Salón / 1967 Arturo Michelena Award, XXV Arturo Michelena Salón / 1998 National Prize of Plastic Arts, Caracas.

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and conceived a project in performance called The Way of the Stars, inspired by the Way of St. James, a pilgrimage to the hotels that are on rue Saint-Jacques, with photos and diaries.

In a studio in Vincennes (France) an imaginary character named Peter Müller, a German soldier, alter ego of the artist, begins to work; he paints in large format, makes tapestries and objects about the history of this character. In 1985 he returned to Venezuela and, inspired by the Melancholy of Albrecht Dürer, he worked on a series of paintings. In 1988 he made serigraphs of his previous work with the printer Simón Guerrero. In 1991 he was retired from the Cristóbal Rojas School and a tribute exhibition was organized in the Espiral Gallery. In 1993, after resting for a year due to surgery, he returned to his job and created the Crea 10 group of workshops with young artists, in the former headquarters of the Cristóbal Rojas School. The following year he explored esoteric and mythological aspects in his series Myths and Talismans. In 1996, he traveled to Havana to donate a large-format work to the Simón Bolívar House. Oramas has participated in the Official Hall (from 1944 to 1964), in the XXIV and XXV editions of the Arturo Michelena Hall (1966 and 1967) and in group exhibitions, among which are "22 Venezuelan painters today" (traveling through Chile, Uruguay and Peru, 1963), "Vision of Painting in Venezuela" (Palace of Fine Arts, Havana, 1975), "Venezuelan Constructive Art, 1945-1965: Genesis and Development" (GAN, 1979), "Inquiry of the image (figure, scope, object), Venezuela, 1680-1980, thematic exhibition, first part "(GAN, 1980)," Tiempo de Gallegos "(GAN, 1985) and" Arte de América "(MBA, 1988). Belgium Rodríguez commented on his work: "Alirio Oramas is an artist marked by a permanent tendency towards research, towards irreverent activities before the traditional and the established and for an almost mystical position before the creative fact. always of concepts and theories that have transcended the daily world of man to be located at the level of the essential and the spiritual "(1983). Of this artist, the GAN has in his collection Kites and parrots (graphite, Chinese ink and oil on canvas, 1951) and Composition No. 2 (collage on wood, 1961). Some Individual Expositions: 1951 Embassy of the United States, Caracas / 1952 "The progressions", Arnaud Gallery, Paris / 1961 Gallery Garden of Arts, Rome / 1962 La Salita Gallery, Rome / "Círculos cosmos: transparencias", Modern Art Gallery, Caracas / 1985 "From the workshop of Alirio Oramas today", GAN. Some Awards: 1951 National Prize of Plastic Arts, XII Official Salon / 1966 Creole Award, XI Salón D'Empaire

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B.1924

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