Issuu

CODE OVF004

Oswaldo Vigas VENEZUELA

B.1926

–

D.2014

TITLE

BRUJITA

DATE / #/EDITION

2005 / N/N / 100

SIZE (cm)

15 x 9

TECHNIQUE

LITHOGRAPHY / HAND SIGNED

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On the eve of the celebration of the 229th anniversary of the National Day of France "La Féte Nationale", the French Embassy in Venezuela, through the French Alliance, has organized a wonderful exhibition that brings together an important group of works of art masters universal, under an exquisite and specialized team selection Enatem Llc. Spectators and collectors will be able to enjoy a pleasant aesthetic experience with emphasis on representative works of geometric abstraction, constructive art and other trends of modern art, which aims to delve into the knowledge of artists of great notoriety and universal projection , such as: Víctor Vasarely (1908-1997), the history of art considers him as the father of Op-art; Joan Miró (1893-1983), is one of the greatest representatives of Surrealism, in his works he reflects his interest in the subconscious, in the "infantile", in the culture and traditions of his native Catalonia; Alejandro Otero (1921-1990), important Venezuelan painter and sculptor, exponent of abstract and kinetic art, represented in large national and international art collections; Mateo Manaure (1926-2018), master of abstractionism, distinguished by his emblematic works in the University City of Caracas and large-scale public projects; Carlos Cruz-Diez (1923), maximum representative of the kinetic art worldwide, his research has contributed to the art a new form of knowledge about the phenomenon of color, considerably expanding his perceptive universe; Francisco Narváez (1905-1982), an important Venezuelan sculptor, is characterized by a strong ethnic component, expressed in a language of his own synthesis with Negroid and indigenous reminiscences; Rafael Bogarín (1946), a constructive artist who conscientiously manages forms and resources as part of an autonomous language; Luis Chacón (1927-2010), extraordinary master engraver who applied in his engravings the concept of unique work, as if it were paintings avoiding repetition, arrives at three-dimensionality with constructive approaches; Esteban Castillo (1941), artist who has developed in a virtuous manner an extensive constructivist work, based on color and geometry; Darío Pérez-Flores (1936), in his works creates a subtle optical vibration that attracts the viewer towards its center, stimulated by a visual and mysterious emotion; Francisco Hung (1937-2001), consecrated painter, in his works the signs and gestures constitute his plastic language, the force of color fills the void with lines; Hugo Arapé (1942), graphic artist of profuse category, has developed a work with a great poetic charge; Antonio Pérez-Melero, an artist with outstanding skills in art, uses fundamentally the interaction of color, light and form in his work; Manuel Finol (1934), a Venezuelan painter with a long career, presents works from a stage of exploration on geometric abstraction; Gabriel Marcos (1938), artist interested in the constructive plan, highlighting the value of pure colors; Rubén Vásquez (1955), an artist who has developed a brilliant career in the arts, taking on expressive abstraction as his own language; Oswaldo Vigas (1926-2014); Venezuelan artist, his work is an original synthesis between the cultural roots of the Latin American continent and the plastic currents of modernity. Jean Cocteau said: "When a work seems ahead of its time, it's just that time is behind the work." Undoubtedly, art acts as a catalyst of daydreams and utopias, at the same time it makes us problems and opens enigmas. Build the collective memory of societies and project a future of changes. This exhibition fosters a space of reunion and reflection about our times, about who we are and how artists, through their particular understanding, take the creative experience to the deepest level. Long live Venezuela, live France forever!

Ambassador Romain Nadal– Instagram @romnadal I recommend visiting the extraordinary exhibition in the French Alliance of La Castellana with works by Vasarely, Miró, Alejandro Otero, Cruz-Diez, Soto, Narváez, Vigas, among many other testimonies of the artistic compratir between Venezuela and France. A contribution made by the company ENATEM. The fine arts were always the crucible of an intense cultural dialogue between France and Venezuela.

Sede Alianza Francesa La Castellana: Avenida Mohedano, Quinta Wuilmarú, Urbanización La Castellana, Caracas - Venezuela

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https://issuu.com/enatemllc/docs/cat_logo_maestros_universales_2018

Information Enatem Llc, Fl-USA enatemllc@gmail.com USA +17866783866 +13054546818 VZLA +584143066206 +584143246074 PANAMÁ +50765710429

First Edition Enatem Llc (copyright)

56 WORKS OF ART IN 10,000 SQF

CURATOR Luis Adrián León – AKA “Carúpano” MUSEOGRAPHY Luis Adrián León – AKA “Carúpano” Nerio Moreno

TEXT Manuel Finol Cavalieri CARPENTRY / MARCHETRY Francisco González William García

SPECIAL THANKS Ambassador Romain Nadal Counselor Pierre Mazzoni France embassy Alianza Francesa Venezuela

Francoise Dumiot Leidy Berrios Manuel Arguinzones Manuel Finol Manuel Finol Cavalieri

Fabián Chacón Ángel Enrique Zambrano Rafael Bogarín Esteban Castillo Carlos Calderón Árias

Luca Araneo Isaac Blum Enatem Llc Team

Víctor Vasarely Víctor Vasarely Víctor Vasarely Víctor Vasarely Víctor Vasarely Víctor Vasarely Joan Miró

Joan Miró

Título: sin título Técnica: Serigrafía sobre Cartulina Número: P/A Fecha: circa 1950 Dimensiones: 47,5x35,5 Certificación: Francisco Da Antonio (AICA)

Título: sin título Técnica: Serigrafía sobre Cartulina Número: P/A Fecha: circa 1949 Dimensiones: 39x35,5 Certificación: Francisco Da Antonio (AICA)

Título: sin título Técnica: Serigrafía sobre Cartulina Número: P/A Fecha: circa 1950 Dimensiones: 53x26cms Certificación: Francisco Da Antonio (AICA)

Título: sin título Técnica: Serigrafía sobre Cartulina Número: P/A Fecha: circa 1957 Dimensiones:45x37,8cms Certificación: Francisco Da Antonio (AICA)

Título: sin título Técnica: Serigrafía sobre Cartulina Número: P/A Fecha: circa 1948 Dimensiones:39,5x35,5cms Certificación: Francisco Da Antonio (AICA)

Título: Capella 4B Técnica: Litografía sobre Papel Número: S/N Fecha: 1965 Dimensiones: 85x45cms Certificación: Francisco Da Antonio (AICA)

Título: sin título Técnica: Tinta sobre Cartulina Número: única pieza Fecha: circa 1940 Dimensiones: 25x15cms Certificación: Enatem Llc

Título: Derrier le Miroir (Catalogue) N: 193/194 Técnica: Litografía (Andrien Maeght ateliers) Fecha: Oct-Nov 1971 Dimensiones: 38x22cms Certificación: Enatem Llc

Título: Derrier le Miroir (Catalogue) N: 193/194 Técnica: Litografía (Andrien Maeght ateliers) Fecha: Oct-Nov 1971 Dimensiones: 38x44cms Certificación: Enatem Llc

Luis Adrián León “Carúpano”

Joan Miró

Alejandro Otero Alejandro Otero

Título: Derrier le Miroir (Catalogue) N: 193/194 Técnica: Litografía (Andrien Maeght ateliers) Fecha: Oct-Nov 1971 Dimensiones: 38x44cms Certificación: Enatem Llc

Título: Gaudí Técnica: Reproducción sobre Grabado Número: 50/50 Fecha: 1981 Dimensiones: 34x24cms Certificación: Enatem Llc

Título: S/T - Serie “Serruchos” Técnica: Intaglio Número: P/A Fecha: 1966 Dimensiones: 62x50cms Certificación: Enatem Llc

Título: S/T - Serie “Serruchos” Técnica: Intaglio Número: P/A Fecha: 1967 Dimensiones: 62x50cms Certificación: Enatem Llc

Luis Adrián León “Carúpano”

Título: “M” L´Alfabeto Técnica: Riproduzione Fotolitografica (8 colori) Número: 1/5000 Fecha: 1972 Dimensiones: 34x24cms Certificación: Bolafiarte “Club dei Cinquemila”

Luis Adrián León “Carúpano”

Alejandro Otero Alejandro Otero Alejandro Otero Mateo Manaure Mateo Manaure Mateo Manaure Mateo Manaure Mateo Manaure Mateo Manaure Mateo Manaure Título: S/T - Serie “Serruchos” Técnica: Intaglio Número: III/IV Fecha: 1967 Dimensiones: 61x50cms Certificación: Enatem Llc

Título: S/T - Serie “Serruchos” Técnica: Intaglio Número: VI/VII Fecha: 1967 Dimensiones: 62x50cms Certificación: Enatem Llc

Título: Cafetera Azul (1947) Técnica: Serigrafía Número: 290/300 Fecha: 1987 (ArtInternational) Dimensiones: 62x50cms Certificación: Enatem Llc

Luis Adrián León “Carúpano”

Título: La Noche Fastuosa Técnica: Materiales diversos Sobre papel encolado a cartón Número: única pieza Fecha: 1965 Dimensiones: 70x47cms Certificación: Francisco Da Antonio (AICA)

Título: El Sueño de la Mariposa Técnica: Serigrafía sobre Cartulina Número: P/A Fecha: circa 1970 Dimensiones: 66,5x51,2cms Certificación: Francisco Da Antonio (AICA)

Título: Sin Título Técnica: Serigrafía sobre Papel Número: P/A Fecha: 1971 Dimensiones: 100x100cms Certificación: Enatem Llc

Título: S/T Serie “Cuvisiones” Técnica: Serigrafía sobre Cartulina Número: 88/200 Fecha: 1977 Dimensiones: 99,5x60cms Certificación: Francisco Da Antonio (AICA)

Título: Sin Título Técnica: Serigrafía sobre Papel Número: P/A Fecha: 1997 Dimensiones: 100x70cms Certificación: Enatem Llc

Título: Sin Título Técnica: Serigrafía sobre Papel Número: S/N (11 piezas) Fecha: circa 1982 Dimensiones: 34x65ms Certificación: Enatem Llc

Luis Adrián León “Carúpano”

Título: S/T Serie “Cuvisiones” Técnica: Serigrafía sobre Cartulina Número: P/A Fecha: 1974 Dimensiones: 56,3x51cms Certificación: Francisco Da Antonio (AICA)

Luis Adrián León “Carúpano”

Jesús Soto

Carlos Cruz-Diez Carlos Cruz-Diez Carlos Cruz-Diez FranciscoNarváez Rafael Bogarín Rubén Vásquez Luis Chacón

Esteban Castillo Esteban Castillo

Título: S/T – Serie “Escrituras” Técnica: Serigrafía sobre Cartulina Número: 47/100 Fecha: 1970 Dimensiones: 65x65cms Certificación: Enatem Llc

Título: sin título Técnica: Serigrafía sobre Cartulina Número: 37/75 Fecha: 1981 Dimensiones: 80x60cms Certificación: Enatem Llc

Título: sin título Técnica: Serigrafía sobre Cartulina Número: P/A Fecha: 1975 Dimensiones: 62x62cms Certificación: Enatem Llc

Título: sin título Técnica: Serigrafía sobre Cartulina Número: 47/100 Fecha: circa 1969 Dimensiones: 65x65cms Certificación: Enatem Llc

Título: sin título Técnica: Serigrafía sobre Cartulina Número: 12/45 Fecha: circa 1969 Dimensiones: 68x50cms Certificación: Enatem Llc

Título: sin título Técnica: Serigrafía sobre Papel Número: 85/100 Fecha: circa 1990 Dimensiones: 75,5x56cms Certificación: Enatem Llc

Título: sin título Técnica: Tintas sobre Cartón Número: única pieza Fecha: 1983 Dimensiones: 76x57,5cms Certificación: Enatem Llc

Título: Activación Técnica: Serigrafía sobre Papel Número: 50/100 Fecha: circa 1974 Dimensiones: 48,5x41cms Certificación: Enatem Llc

Título: sin título Técnica: Serigrafía sobre Papel Número: 8/10 Fecha: circa 1981 Dimensiones: 35x35cms Certificación: Enatem Llc

Título: sin título Técnica: Serigrafía sobre Cartón Número: HC y SN Fecha: circa 1981 Dimensiones: 10x10cms c/u Certificación: Enatem Llc

Luis Adrián León “Carúpano

Esteban Castillo Darío Pérez-Flores Hugo Arapé

AntonioPérez-Melero AntonioPérez-Melero Manuel Finol

Manuel Finol

Título: sin título Técnica: Serigrafía sobre Cartón Número: 6/39 y HC Fecha: circa 1981 Dimensiones: 12,5x7,5cms c/u Certificación: Enatem Llc

Título: Prochromatique Técnica: Tintas sobre Cartulina Número: única pieza Fecha: circa 1985 Dimensiones: 60x60cms Certificación: Enatem Llc

Título: sin título Técnica: Serigrafía sobre Papel Número: 133/150 Fecha: circa 1980 Dimensiones: 70x50cms Certificación: Enatem Llc

Título: Yo Positivo Técnica: Fondo Geométrico Número: única pieza Fecha: 1982 Dimensiones: 36,5x36,5cms Certificación: Enatem Llc

Título: sin título Técnica: Fondo Geométrico Número: única pieza Fecha: 1992 Dimensiones: 60x60cms Certificación: Enatem Llc

Luis Adrián León “Carúpano

Título: Composición Técnica: Óleo sobre Tela Número: única pieza Fecha: 1958 Dimensiones: 95x45cms Certificación: Enatem Manuel Finol

Título: Simbolismo 3 Técnica: Óleo sobre Tela Número: única pieza Fecha: 1958 Dimensiones: 99,6x44,5cms Certificación: Enatem Manuel Finol

Título: Composición Técnica: Óleo sobre Tela Número: única pieza Fecha: 1958 Dimensiones: 95x46,6cms Certificación: Enatem Manuel Finol

Manuel Finol

Francisco Hung Gabriel Marcos Oswaldo Vigas Oswaldo Vigas Oswaldo Vigas

Título: Simbolismo 5 Técnica: Óleo sobre Tela Número: única pieza Fecha: 1958 Dimensiones: 99,5x44,5cms Certificación: Enatem Manuel Finol

Título: Simbolismo 8 Técnica: Óleo sobre Tela Número: única pieza Fecha: 1958 Dimensiones: 99,5x44,5cms Certificación: Enatem Manuel Finol

Título: Composición Técnica: Óleo sobre Tela Número: única pieza Fecha: 1959 Dimensiones: 59,7x43cms Certificación: Enatem Manuel Finol

Título: sin título Técnica: Acrílico sobre Tela Número: única pieza Fecha: 1993 Dimensiones: 100x90cms Certificación: Enatem Manuel Finol

Título: Gris Bermellón Técnica: Óleo sobre Tela sobre Visopan Número: única pieza Fecha: 1962 Dimensiones: 54x37cms Certificación: Francisco Da Antonio (AICA)

Título: sin título Técnica: Serigrafía sobre Papel Número: P/A Fecha: 2005 Dimensiones: 68x58cms Certificación: Enatem Llc

Título: Brujita Técnica: Litografía sobre Cartulina Número: S/N Fecha: 2005 Dimensiones: 15x9cms Certificación: Enatem Llc

Luis Adrián León “Carúpano

Título: sin título (E-3097) Técnica: Serigrafía sobre Papel Número: 9/40 Fecha: circa 1971 Dimensiones: 47x45cms Certificación: Fundación Vigas

Celebration of the 229th anniversary of the National Day of France "La Féte Nationale"

GREAT MASTERS IN THE ALLIANCE

AmbassadorRomainNadal–Instagram@romnadal I recommend visiting the extraordinary exhibition in the French Alliance of La Castellana with Works by Vasarely, Miró, Alejandro Otero, Cruz-Diez, Soto, Narváez, Vigas, among many other testimonies of the artistic share between Venezuela and France. A contribution made by the company ENATEM. The fine arts were always the crucible of an intense cultural dialogue between France and Venezuela.

MAYTE NAVARRO

27/07/2018 11:01 pm

The French Alliance presented the exhibition Grand Masters that was framed in the programation of the Week of France 2018. The opening was in charge of Romain Nadal, Ambassador of France; François Dumiot, General Director of the French Alliance; and the Collector Claudio Giummarra. The exhibition, which was held at the headquarters of the French Alliance of La Castellana, brought together works by Víctor Vasarely, Joan Miró, Alejandro Otero, Mateo Manaure, Carlos Cruz-Diez, Francisco Narváez, Rafael Bogarín and other consecrated Artist. In this way, the French Alliance continues its action of projecting culture and being a bridge between France and Venezuela.

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http://www.eluniversal.com/sociales/16167/grandes-maestros-en-la-alianza https://www.youtube.com/watch?v=JC5a_aH3vqc http://elsumario.com/la-alianza-francesa-reunio-a-maestros-universales/ http://viajesboletin.com/index.php/component/tags/tag/exposicion-maestros-universales http://www.circuitobaila.com.ve/2018/07/02/la-alianza-francesa-reunio-a-maestros-universales/ http://www.vive.gob.ve/index.php/articulos-m/4209-muestra-de-artistas-universales-se-exhibe-en-la-alianza-francesa-de-la-castellana-categ=12 http:// www.noticias24.com/gente/noticia/163820/manuel-finol-cavalieri-nos-ensena-el-lenguaje-de-los-maestros-de-las-artes-universales/ http://www.caraotadigital.net/cultura/alianza-francesa-reunio-a-maestros-universales-para-conmemorar-la-semana-de-francia-2018/ http://elestimulo.com/blog/alianza-francesa-reunio-a-artistas-del-siglo-xx-en-la-exposicion-maestros-universales/ https://www.facebook.com/www.caracas.afvenezuela.org/photos/a.10150214649415960/10156451088750960/?type=1&theater

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CODE OVF004

Oswaldo Vigas VENEZUELA

B.1926

–

D.2014

TITLE

UNTITLED

DATE / #/EDITION

1971 / 9/40

SIZE (cm)

47 x 45

TECHNIQUE

SERIGRAPHY / HAND SIGNED

Oswaldo Vigas’ works come to the country with prices starting at $50,000 By: Daliana Garzón Ortegón La República Bogotá July 16, 2015 With 70 paintings and five sculptures, the Venezuelan artist Oswaldo Vigas’ exhibition opens today, including works from 1943 to 2013 with prices ranging from $ 50,000 to $ 250,000. The people of the capital city will be able to view the complex and unique exhibition by Vigas, who died in 2014, until next August 23rd at the Bogotá Museum of Modern Art (MAMBO), bringing his oldest works, such as 'Tetragramista', 'Ciudadano Elector', and 'Composición IV', made in 1943. “It is an exhibition of all of my father’s artistic creative periods. He started painting when he was 13 years old and many of his works were very controversial for the artistic establishment of Venezuela, such as the 'Brujas' series, very different from the academic painting of the time. However, many people valued these works and that led him to win major prizes when he still was very young”, said Lorenzo Vigas, son of the artist. Among the most recent works by Vigas that can be seen, we have 'Maternidad con Pájaro' and 'Crucifixión', made in 2013. The admission fee for the museum is $ 4,000 per person.

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CODE OVF004

Oswaldo Vigas VENEZUELA

B.1926

–

TITLE

UNTITLED

DATE / #/EDITION

1971 / 9/40

SIZE (cm)

47 x 45

TECHNIQUE

SERIGRAPHY / HAND SIGNED

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D.2014

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CODE OVF004

Oswaldo Vigas VENEZUELA

–

D.2014

TITLE

UNTITLED

DATE / #/EDITION

1971 / 9/40

SIZE (cm)

47 x 45

TECHNIQUE

SERIGRAPHY / HAND SIGNED

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1970 From 1970, he settled in Caracas and resumed his work in the María Lionza and Señoras series. In 1971, he is appointed director of the Art Division of Inciba. At the beginning of 1972, he travels to the United States and devotes himself to developing a set of screenprints. Upon his return, in this same year, he resigned his position as a sign of protest for the censorship that the State imposed in the 1st Graphics and Drawing Room at the Fine Arts Center of Maracaibo, whose completion had to be suspended. From 1974 to 1975, he is part of the Preparatory and Organizing Committee of the Conac. In 1976, he was appointed member of the Advisory Board of the Museum of Fine Arts of Caracas and the National Art Gallery, which began to operate in May of this year under the direction of Manuel Espinoza. In 1978, he is part of the organizing committee of the First Ibero-American Meeting of Art Critics and Plastic Artists. In 1979, the National Art Gallery made an anthological sample of his work between 1943 and 1977. 1980 In 1981, he joined the group Proposition 20, and exhibits in the Museum of Fine Arts of Caracas the tapestries designed by him and executed in the workshops of St. Cyr (France). Already in 1971, he had carried out works of this type in workshops in Portugal and France, which then continued with tapestries woven by artisans from Toluca (Mexico) and later with a group made in Spain. At the same time, it executes numerous pieces in ceramics: reliefs in refractory and stoneware plates, molds for plates, oxides to paraffin under cover, etc. "In the ceramics of Oswaldo reappear not a few of the fantastic beings that occupy all the space of his paintings, tapestries and graphics, but now reduced to the dimension of a talisman" (Pineda, 1981). He oversees the execution of a relief-mural in stoneware commissioned by the Ateneo de Caracas and in 1983 he made gouaches and graphics, inspired by Simón Bolívar. In 1985, he presented his first sculptures in bronze, a consequence of the experiences in ceramics of the early eighties. In 1986, he worked on the theme of the crucifixion (from sketches going back to the fifties), peace, mother, child and birds. The space in the work of Beams begins to be

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Childhood Son of Dr. José de Jesús Vigas and Nieves Linares, descendant of Arturo Michelena. He was 10 years old when his father died and Vigas lived between Valencia and Tinaquillo. 1940 In 1941, he moved to Guacara, where he made his first paintings. His first known important work is the illustration of the Book of Poetry (1941) at the Ateneo de Valencia. In 1943, he was awarded the Medal of Honor for his work Red Leaves making the sample that makes it known. In 1945, he entered the University of Los Andes - Mérida, to study Medicine. In 1946, he presented "Oswaldo Vigas" at the Ateneo de Valencia. His painting continues to be motivated by the human figure, with an increasing deformation, greater freedom and thickening of the line in reinforcement of the general expressivity of the work. In 1947, he participated in the V Salon Arturo Michelena, at the Ateneo de Valencia. In 1949, he moved to Caracas and completed his medical studies at the Central University of Venezuela, never got to practice as a doctor. He attended the Free Art Workshop and actively participated in the artistic movement of the time, and visited periodically the School of Plastic Arts Cristóbal Rojas, where he was related to Manuel Cabré, Martín Durban, Pedro Ángel González, Rafael Ramón González and Rafael Monasterios, among others. In addition, in the same year, he obtains the First Prize of the First Painting Salon in the Merida Athenaeum. The human figure remains the central theme of his painting, increasingly removed from conventional figurativism. The line becomes more aggressive, start using flat colors, lacing them, and discover the pre-Columbian pottery. All this marks the preamble to "The Witches Period." 1950 In 1952, he obtained the Arturo Michelena Prize, at the Ateneo de Valencia and the National Prize for Plastic Arts, he obtained several works and he settled in Paris. In Paris he took the course of History of Art at the Sorbonne. In 1957, he returned to Venezuela and returned to Paris. In 1959, as cultural attaché of the Embassy of Venezuela in France. In 1962, he participated in the Venice Biennial on behalf of the country. During this period, he ventured into materialistic informalism and made a series of etchings using the sugar water technique. 1960 In 1964, he returned to Venezuela and the UC edited a monograph on the artist, written by the Norwegian critic Karl K. Ringström. In that year, he received again the Arturo Michelena Prize with a work of informalista tendency, Parameras. His informalist experience enriches his reencounter with figuration and in the mid-sixties he takes up the essential forms of his witches in a series of "personagrestes", executed with violent brushstrokes and material charge, briefly interrupted at the end of the decade by a return to the abstraction. In 1965, he was appointed director of culture at the Universidad de Los Andes and, together with Juan Astorga, he worked on the creation of Mamja.

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B.1926

CODE OVF004

Oswaldo Vigas VENEZUELA

B.1926

–

TITLE

UNTITLED

DATE / #/EDITION

1971 / 9/40

SIZE (cm)

47 x 45

TECHNIQUE

SERIGRAPHY / HAND SIGNED

Awards 1942: Prize for the best illustration, I Exhibition Hall of Illustrated Poems, Ateneo de Valencia, Edo. Carabobo 1943: Ateneo de Valencia Prize, I Salon Arturo Michelena 1949: First prize, I Salon of Painting, Ateneo de Mérida 1950: Prize Lastenia Tello de Michelena, VIII Arturo Michelena Hall 1952: Official Prize of Plastic Arts, XIII Official Hall / John Boulton Prize, XIII Official Hall / Arturo Michelena Prize, X Arturo Michelena Hall 1955: Shell Company of Venezuela Award, "International Painting Exhibition", Ateneo de Valencia, Edo. Carabobo 1956: Second prize, III Salón D'Empaire / Acquisition Award, Gulf Caribbean Art Exhibition, Houston Museum, Texas 1958: Puebla de Bolívar Prize, XIX Official Hall 1959: Acquisition Prize, Exhibition of Contemporary Latin American Art, Palace of the Inquisition, Cartagena, Colombia 1964: Arturo Michelena Award, XXII Arturo Michelena Hall 1973: First mention, I Biennial of Latin American Art, Museum of Modern Art of Sogamoso, Colombia 1992: Grand Prix S.A.S Le Prince Reinier III, XXVI International Contemporary Art Prize, Principality of Monte Carlo, Monaco.these works away from the purely planistic conception, typical of geometric abstractionism "Carlos Raúl Villanueva commissioned him several mosaic murals for the Ciudad Universitaria de Caracas5 that the artist made in Paris.

http://www.oswaldovigas.com/#videos http://www.oswaldovigas.com/#prensa

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populated with signs and non-figurative forms, from irregular planes that are oriented towards geometric compositions increasingly linear but of a gestural character. "Rectangles and squares are intercepted by pronounced bars reminiscent of Hartung, even because of the monochromatic aspect of these compositions, since Vigas reaches the fullness of this period with resolute fabrics based on black and white, with a graphic suggestion. having here a suggestive climate, a degraded atmosphere that moves these works away from the purely planistic conception, typical of geometric abstractionism "Carlos Raúl Villanueva commissioned him several mosaic murals for the Ciudad Universitaria de Caracas that the artist made in Paris. 1990 In 1990, the Museum of Contemporary Art of Caracas organized a retrospective with more than 200 works including paintings, sculptures, tapestries, ceramics, jewelery and crafts. On the occasion of this show, the company Lagoven produces for its series Cuadernos the short film dedicated to the life and work of the artist, Oswaldo Vigas: renovation at the origin. This same year, he is invited to Montreal (Canada) and participates in the exhibition "Latinartca 63: masters of contemporary Latin American art". In 1990, a new book was published on the work of Oswaldo Vigas, with texts by the French critic Gastón Diehl. In 1992, he traveled to Monaco and participated in the XXVI International Contemporary Art Prize, where he received the first prize with Crucifixion VII. In 1993, at the Palacio de la Moneda in Paris, he organized the exhibition "Vigas from 1952 to 1993", which brings together around 137 creations including paintings, gouaches, sculptures, ceramics and drawings. In 1995, he exhibited in "Tapicerías de hoy sobre paredes de antaño" (France and Tokyo), a tapestry made on the occasion of the Pan-American Games of Caracas (1982). In 1996, the exhibition "Oswaldo Vigas: un hombre americano" is presented at the Casa de las Américas in Havana on the occasion of the third anniversary of Casa Simón Bolívar. In 1999, he is honored in the seventh edition of FIA. In his last stage his paintings tend to simplicity, with some touches of color and large areas of untouched fabric. From his work, the National Art Gallery (Caracas) has in his collection a significant number of works dated between 1957 and 1987. Death He died at age 88 due to pneumonia, after entering without serious symptoms in a hospital in Caracas. Personal life His son is the filmmaker Lorenzo Vigas (Mérida, 1967) became the winner of the Golden Lion at the LXII Mostra de Venecia 2015 for his debut film “Desde Allá”. In 2010, the Oswaldo Vigas Foundation was created, with the aim of to preserve and promote the artist's work.

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D.2014

CODE OVF004

Oswaldo Vigas VENEZUELA

–

D.2014

TITLE

UNTITLED

DATE / #/EDITION

1971 / 9/40

SIZE (cm)

47 x 45

TECHNIQUE

SERIGRAPHY / HAND SIGNED

enatemllc@gmail.com

1974: "Oils and Acrylics", Banking Gallery, Caracas, Venezuela. 1977: "Oswaldo Vigas: image of an expressive identity", Gallery of the National Institute of Culture, Italian Art Museum, Lima, Peru. / "Ancestors", Consulate of Venezuela, New York, USA 1978: "One hundred drawings from 1965 to 1978", La Trinchera Gallery, Caracas / "Oswaldo Vigas, an American mythology", El Callejón Gallery, Bogotá, Colombia. / Signo y magia, Durban Gallery, Caracas, Venezuela. 1979: "Oswaldo Vigas, the ancestral poetry", Gaudí Gallery, Maracaibo, Venezuela. / Anthological "Elemental Rites, Dark Gods", National Art Gallery, Caracas Venezuela. / "Oswaldo Vigas" Panamanian Art Institute, Panama. 1980: "Ancestors", Embassy of Venezuela, Paris, France. 1981: Upholstery by Oswaldo Vigas, Municipal Gallery Museum of Fine Arts, Caracas, Venezuela. 1982: Beams, Exhibition Hall, Merida State Bar Association, Mérida, Venezuela. 1984: "Idols and characters", Durban Gallery, Caracas, Venezuela. 1987: "Andean Landscapes" in the company of Marius Sznajderman, Gallery Los Espacios Cálidos, Ateneo de Caracas, Venezuela. 1989: Ceremonies, Armitano Arte Center, Caracas, Venezuela. 1990: "Oswaldo Vigas, from 1942 to 1990", Museum of Contemporary Art of Caracas Sofía Imber, Caracas, Venezuela. / Retrospective Beams: the figurative and the telluric, Museum of Contemporary Art of Caracas Sofía Imber, Caracas, Venezuela. 1992: "Los duendes", Itagalería, El Hatillo, Caracas, Venezuela. / "Beams: wall hangings and ceramics", Consolidated Cultural Center, Caracas, Venezuela. / "Engravings, drawings and serigraphs", Alianza Francesa, Caracas, Venezuela. 1993: "Beams from 1952 to 1993", La Monnaie Museum in Paris, La Moneda Palace, Paris, France. / Oswaldo Vigas: the recent work, Grupo Li-Centro de Arte, Caracas, Venezuela. 1994: "Oswaldo Vigas in Paris: Obras Inédites", Découvertes-redécouvertes 94, within the framework of Saint-Germain des Beaux Arts, Corinne Timsit International Gallery, Paris, France. 1995: "Mutants, pélélés, contorsionnistes et autres zigotos", La Tour des Cardinaux Gallery (Galerie La Tour des Cardinaux, L'Isle-sur-la-Sorgue), L'Isle-sur-la-Sorgue, France / "Oswaldo Beams, recent works ", Li Gallery Art Center, Caracas, Venezuela. 1996: "Comadres, equilibristas, peleles y otros engendros", Ascaso Art Gallery, Valencia, Edo. Carabobo, Venezuela / "Oswaldo Vigas: an American man", Havana, Cuba.

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Individuals 1942: Athenaeum of Valencia, Edo. Carabobo, Venezuela 1943: Athenaeum of Valencia, Edo. Carabobo, Venezuela 1945: Athenaeum of Valencia, Edo. Carabobo Venezuela. 1946: Athenaeum of Valencia, Edo. Carabobo, Venezuela 1952: "Retrospective Oswaldo Vigas: 1946-1952", Ateneo de Valencia, Edo. Carabobo / Museum of Fine Arts, Edo. Caracas Venezuela. 1954: Cuatro Vientos Gallery, Caracas. 1956: "Blanc et Noir", La Roue Gallery, Paris, France. 1957: Museum of Contemporary Art, Madrid, Spain. / Contemporary Art Gallery, Caracas, Venezuela. / "Oswaldo Vigas: 1953-1957", Center for Fine Arts, Maracaibo, Venezuela. / Oswaldo Vigas: 1953-1957, Eugenio Mendoza Foundation, Caracas, Venezuela. / "Oswaldo Vigas: 1952-1957", Ateneo de Valencia, Edo. Carabobo 1958: Oswaldo Vigas of Venezuela: Pan American Union, Washington DC, USA / "Blancos y negros", Eugenio Mendoza Foundation, Caracas, Venezuela. 1961: "Peintures récentes", Gallery La Roue, Paris, France. 1963: "Beams", Neufville Gallery, Paris, France. 1964: "Oswaldo Vigas, paintings of the years 1960-1964", Eugenio Mendoza Foundation, Caracas, Venezuela / Prisma Gallery, Gómez Cardiel Institute, Cumaná, Venezuela / Oswaldo Vigas: retrospective: 1941-1964, Ateneo de Valencia, Edo. Carabobo, Venezuela / Beams: engravings, drawings, gouaches, Athenaeum of Caracas, Venezuela. 1965: "Oswaldo Vigas: paintings from 1960-1964", Casa de la Cultura, Maracay / "Oswaldo Vigas: paintings from 1960-1964", Centro de Bellas Artes, Maracaibo 1966: Retrospective "Las brujas, genealogical tree: 1941-1952", Galería XXII, Caracas, Venezuela. 1967: "Beams: paintings 1965-1967", Eugenio Mendoza Foundation, Caracas, Venezuela. / "Venezuelan Witches", Gallery of the Inter-American Development Bank (IDB), Washington DC, USA 1969: House of the Teacher, Tinaquillo, Edo. Cojedes, Venezuela 1970: "Mitificaciones", Eugenio Mendoza Foundation, Caracas, Venezuela. / Bon Art Gallery, Valencia, Edo. Carabobo, Venezuela / Tapestries, Antañona Gallery, Caracas, Venezuela. 1971: Fine Arts Theater, Maracaibo / "Oswaldo Vigas: paintings 1945-1971", Centro de Historia Larense, Barquisimeto 1973: "Oswaldo Vigas: recent paintings", Antañona Gallery, Caracas, Venezuela. / "Retrospective Oswaldo Vigas 1943-1973", Museum of Contemporary Art, Bogotá, Colombia. / "Oswaldo Vigas: serigraphs", San Diego Gallery, Bogotá, Colombia. / "Myths and figurations", Portobello Gallery, Caracas, Venezuela.

@enatemllc

B.1926

CODE OVF004

Oswaldo Vigas VENEZUELA

–

D.2014

TITLE

UNTITLED

DATE / #/EDITION

1971 / 9/40

SIZE (cm)

47 x 45

TECHNIQUE

SERIGRAPHY / HAND SIGNED

enatemllc@gmail.com

2013: Vigas constructivista 153-1957, Ascaso Gallery, Miami, Florida, EE.UU. / Ciudad Universitaria de Caracas: síntesis de las artes mayores seis décadas 1953-2013, Fundación BBVA Provincial, Caracas, Venezuela. / Vigas constructivista 1953-1957, Galería de Arte Ascaso, Caracas, Venezuela. 2014: Oswaldo Vigas: transfigurations, Dillon Gallery, Nueva York, EE.UU. Collectives 1953: Biennial of São Paulo, Brazil. 1954: Works for the University City of Caracas, Musée d'Art Moderne de la Ville de Paris, France. / XXVII Venice Biennial, Italy, and Pan American Union, Washington, USA. 1955: Biennial of São Paulo, Brazil. / Carnegie International, Pittsburgh, USA / Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1956: Musée de Picardie, Amiens, France. / Permanence de l'Art, Musée d'Art et d'Histoire, Geneva, Switzerland. / Picasso and Hispano-American Contemporary Art, Museum of Fine Arts, Houston, Texas, USA / Gulf Caribbean Art Exhibition, Galerie Craven, Paris, France. / Tribute to Paul Klee, Palace of Fine Arts, Mexico. International Painting and Engraving Biennial. / Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1957: Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1958: Carnegie International, Pittsburg, USA 1959: Palace of the Inquisition, Cartagena, Colombia. / Contemporary Latin American Art, Pan American Union, Washington DC, USA / University of Nebraska Art Gallery, USA / Paintings and drawings from Latin America, Dallas Museum of Fine Arts, USA 1960: La Roue Gallery, Paris, France. / Pan American Union, Washington DC, USA 1961: Neufville Gallery, Paris, France. / Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1962: XXXI Biennial of Venice, Italy. / Venezuelan-Israeli Cultural Institute, New York, USA / Venezuelan painter, Salon des Réalités Nouvelles, Paris, France. / Museum of Rabat, Morocco. / Venezuelan Painters of the School of Paris, Musée d'Art Moderne de la Ville de Paris, France. / L'Art Latin-Americain à Paris, La Roue Gallery, Paris, International Painting and Engraving Biennial. / Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1957: Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1958: Carnegie International, Pittsburg, USA 1959: Palace of the Inquisition, Cartagena, Colombia. / Contemporary Latin American Art, Pan American Union, Washington DC, USA / University of Nebraska Art Gallery, USA

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Individuals 1997: Oswaldo Vigas. Obras clave de 1952 a 1997, Comandancia General de la Aviación, Caracas, Venezuela. / Homenaje de la Fuerza Aérea Venezolana al maestro Oswaldo Vigas. / Vigas en Maracaibo, Galería 700 Arte, Maracaibo, Edo. Zulia, Venezuela 1998: Oswaldo Vigas, painting and sculpture, The Aldo Castillo Gallery, Chicago, USA / En el camino siempre", Sala Sidor 1999: Embajada de Francia, Caracas, Venezuela. / Restaurant Il Pinolo, Tokio, Japón. 2000: Entes, colonieras y recuerdos de viaje, Galería Dimaca, Caracas, Venezuela. / Pájaros de la paz y otros recuerdos, Galería 700 Arte, Maracaibo, Venezuela. 2001: Ficción de mediodía, Galería de Arte Ascaso, Valencia, Venezuela. 2002: Instituto Nacional de Ciencias Aplicadas, Lyon, Francia / Ideografías de París, 1952-1957, Museo de Arte Contemporáneo de Caracas Sofía Imber, Caracas, Venezuela. / Oswaldo Vigas, Tenji Gallery, Tokio, Japón. 2003: Oswaldo Vigas: recuerdos del presente, Galería de Arte Ascaso, Caracas, Venezuela. 2004: Ideografías de París, 1952-1957, Museo de Arte Contemporáneo del Zulia, Maracaibo, Venezuela. 2005: Oswaldo Vigas: sacro y mundano, Galería 700 Arte, Maracaibo, Venezuela. / Oswaldo Vigas: grabados recientes, Alianza Francesa, Caracas, Venezuela. / Oswaldo Vigas: sortilèges des tropiques, Museo Jean Lurçat et de la Tapisserie Contemporaine, Angers, Francia. 2006: Oswaldo Vigas: criaturas del asombro en el marco de la celebración de los diez años de la galería, Galería Medicci, Caracas, Venezuela. 2007: Oswaldo Vigas: pasión por la creación, Galería Corporación Andina de Fomento (CAF), Caracas, Venezuela. / Tierra y fuego, Fundación Banco Provincial, Caracas, Venezuela. 2008: Oswaldo Vigas en París, Galería de Arte Ascaso, Caracas, Venezuela. 2009: Mujeres, mujeres y mujeres, Alianza Francesa con sede en La Castellana, Caracas, Venezuela. / Oswaldo Vigas en InterValores, Caracas, Venezuela. / Oswaldo Vigas. Dibujos, Galería Punto de Arte, Caracas, Venezuela. 2010: Oswaldo Vigas. De brujas a curanderas, Parque Fernando Peñalver, Edo. Carabobo, Venezuela. 2011: Oswaldo Vigas de Mérida a Paris, Caracas, Venezuela. / Peintures: retrospectiva que incluye 170 obras, Centre d´Art Villa Tamaris, La Seyne-sur-mer, Francia. / Feria Iberoamericana de Arte de Caracas, FIA 2011, con Galería de Arte Ascaso y Galería Medicci, Caracas, Venezuela. 2012: El dibujo en la obra de Oswaldo Vigas 1940-2012 (retrospectiva que incluye 100 obras), Gabinete del Dibujo y la Estampa de Valencia, Venezuela. / Feria Iberoamericana de Arte de Caracas, FIA 2012, con Galería de Arte Ascaso, Galería Medicci y 700, Arte de Maracaibo, Venezuela. / Exposición de arte iberoamericano con motivo de la celebración de los doscientos años de la constitución del Tribunal Supremo Madrid, España.

@enatemllc

B.1926

CODE OVF004

Oswaldo Vigas VENEZUELA

–

D.2014

TITLE

UNTITLED

DATE / #/EDITION

1971 / 9/40

SIZE (cm)

47 x 45

TECHNIQUE

SERIGRAPHY / HAND SIGNED

enatemllc@gmail.com

1992: From Torres-García to Soto, Art Museum of the Americas, OAS. / XXVII Prix International d'Art Contemporain of Monte Carlo, Monaco. 1998: Works from the FDA collection, Maison du Citoyen, Fontenay-sous-bois, France 1994: Acquisitions, Fonds Départemental d'Art Contemporain (FDAC), Paris, France. / Tapisseries d'aujourd'hui sur murs d'autrefois, Château des Adhémar, Montelimar, France. 1995: Salon de Mai, Espace Eiffel-Branly, Paris, France. / XXIX Prix International d'Art Contemporain of Monte Carlo, special guest. / Venezuelan art in the 60s. The prodigious decade, Museum of Fine Arts, Caracas, Venezuela. / Venezuela de l'art populaire à l'art contemporain, Center Culturel de Boulogne-Billancourt, Paris, France. / Be sculptor 95, 700 Art, Maracaibo, Edo. Zulia, Venezuela. / L'Art Latin-Americain à Paris, La Roue Gallery, Paris. 1997: The Free Workshop of Art, 1948-1952, Jacobo Borges Museum, Caracas, Venezuela. / Constructivist Art from Latin America, Sotheby's, New York, USA / Tapisseries de l'Atelier 3, Auditorium of Lyon, France. 1999: Four Latin American Masters, Anita Shapolsky Gallery, New York, USA / Peinture et Sculpture d'Amérique Latine, La Cita Festival, Biarritz, France. / Museum Collection, Museum of Fine Arts, Caracas. / Etats d'un temps. Collection FDAC, Center Culturel de Paris Sucy, France. 2000: A coeur, a monde (One Heart, one World), Maison de la Culture du Japon, Paris, France. 2001: I Exxon Mobil Art Salon of Venezuela, Sacred Museum of Caracas, Venezuela. 2002: Geometry as vanguard. Banco Mercantil Collection, Alejandro Otero Museum, Caracas, Venezuela. / Contemporary Venezuelan Art, M.A. Doran Gallery, Tulsa, USA / Geometric Abstraction in Venezuela, National Art Gallery, Caracas, Venezuela. / The Latinamerican & Caribbean Art Today, Miura Museum of Art, Miura, Japan. / Reaction and controversy in Venezuelan art, National Art Gallery, Caracas, Venezuela. 2003: The Mega Exposure 1900-2000, National Art Gallery, Caracas, Venezuela. / Venezuelan art of the twentieth century. PDVSA Collection, Museum of Contemporary Art of Zulia, Venezuela. 2004: Image and figuration, Ascaso Art Gallery, Caracas, Venezuela. / Caracas à Paris, Alliance Française de Paris, on the occasion of his thirty years in Venezuela. 2006: Le Musée de la Tapisserie à 20 ans, Musée Jean Lurçat et de la Tapisserie Contemporaine, Angers, France. / Documentary. 30 years in Venezuelan art, National Art Gallery, Caracas, Venezuela. / Latin America, University of San Francisco, Chicago,

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/ Paintings and drawings from Latin America, Dallas Museum of Fine Arts, USA 1960: La Roue Gallery, Paris, France. / Pan American Union, Washington DC, USA 1961: Neufville Gallery, Paris, France. / Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1962: XXXI Biennial of Venice, Italy. / Venezuelan-Israeli Cultural Institute, New York, USA / Venezuelan painter, Salon des Réalités Nouvelles, Paris, France. / Museum of Rabat, Morocco. / Venezuelan Painters of the School of Paris, Musée d'Art Moderne de la Ville de Paris, France. / L'Art Latin-Americain à Paris, La Roue Gallery, Paris. 1963: Musée Maison de la Culture, Le Havre, France. / Venezuela, from landscape to plastic expression, Creuze Gallery, Paris, France. / Donner à voir No. 2, Gallery-English Bookshop, Paris, France. / Bradley, Byun, Beams, Le Gendre Gallery, Paris, France. / La boîte et son contenu, Neufville Gallery, Paris, France. / Adams Morgan Gallery, Washington, DC, USA / Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1964: House of the Americas, Havana, Cuba. / Latin American painting. Tribute to the Algerian revolution. Artists of the School of Paris, Museum of Algiers, Algeria. 1965: Venezolanische Malerei von Heute, Germany. (Traveling exhibition of Venezuelan artists). 1970: Exhibitions of the group Presencia 70, Caracas, Venezuela. 1971: Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1972: The Collection of Ewa Gartztecka, National Museum of Wroclaw, Poland. 1973: World Print Competition, San Francisco, USA 1974: Eight Venezuelan artists, Galería Aele, Madrid, Spain. 1975: Panorama of Venezuelan painting, Casa de Las Américas, Havana, Cuba. 1976: Latin Excellence, Contemporary Hispanic Art, Xerox Corporation Center, Rochester, NY, USA. 1978: Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1980: Venezuelan Constructive Art, National Art Gallery, Caracas, Venezuela. / Second Ibero-American Art Biennial, Pedro Domecq Institute, Mexico. / Chicago International Art Exhibition, Navy Pier-Chicago, USA / Inquiry of the image, National Art Gallery, Caracas, Venezuela. / Salon de Mai, Musée d'Art Moderne de la Ville de Paris, France. 1981: Omaggio to Picasso, Palazzo Robellini, Citá di Erba, Italy. / Pro-Position 20, National Art Gallery, Caracas, Venezuela. 1987: Art Gallery of the Non-Aligned Countries, Titograd, Yugoslavia. 1989: Art of the Bolivarian countries, Museum of Fine Arts, Caracas, Venezuela. 1990: LatinArtCa 90, La Galerie d'Art Lavalin, Montreal, Canada. / Reencuentro, Arturo Michelena Awards 1943-1989 and Andrés Pérez Mujica Awards 1951-1989, Ascaso Art Gallery, Valencia, Edo. Carabobo, Venezuela / Latin American drawings today, San Diego Museum of Art, California, USA / Masters of Latin American Art, Andrea Marquit Fine Arts, Boston, USA.

@enatemllc

B.1926

CODE OVF004

Oswaldo Vigas VENEZUELA

–

D.2014

TITLE

UNTITLED

DATE / #/EDITION

1971 / 9/40

SIZE (cm)

47 x 45

TECHNIQUE

SERIGRAPHY / HAND SIGNED

USA / Aldo Castillo Gallery. 2008: Artistes de l'Atelier 3, Musée Jean Lurçat et de la Tapisserie Contemporaine, Angers, France. / Art Nocturne Knokke, Cultuurcentrum Scharpoord, Knokke, Belgium. Mary Ann Manning Gallery, USA / Atelier 3 Transpositions. Tapisseries, 1972-2008, Musée Jean Lurçat et de la Tapisserie Contemporaine, Angers, France. 2009: Real space, Ascaso Art Gallery, Caracas, Venezuela. / Latin America Art, Sotheby's, New York, USA / Our artists, Medicci Gallery, Caracas, Venezuela. / Artist honored at FIAAM, Maracaibo, Venezuela. / Latin American Art, Christie's, New York, USA 2010: Galería Parque Hipólita Art Gallery, Valencia, Venezuela. / Artist honored at the XV Salón Cabriales de Pintura, Chicago, USA / Beach Convention Center Miami, Florida, USA 2011: IV Sculpture Biennial, Trazos Art Gallery, Caracas, Venezuela.

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Leyendas del mañana Oswaldo Vigas, “Leyendas de Mañana”, written by the historian and theoric of Venezuelan art, Carlos Silva, who did a profound study and analysis of Oswaldo Vigas work, making emphasis on the pieces he made from 1993. For the author, this period was particularly important, because it can be observed a significant rupture ofthe artist’s plastic language. This change on Vigas work happened after an exhibition at the “Palacio de la Moneda” in Paris, this exhibition was composed of several pieces that resumed his past. After forty years of artistic production Oswaldo Vigas changed his interests from the gods to submerge himself in a representation of the vital or mundane, submitting to the essential. The change of language in Vigas work gave place to new structures that reinvented themselves, into a colorful and lineal synthesis, where the plain and homogeny chromatism was predominant; the current media economy isolated the deformed and transformed figure in full satisfaction and contentment of his solitude.

Oswaldo Vigas. Gaston Diehl Venezuelan critic Juan Liscano, Oswaldo Vigas is a book that compiles the work of the known Venezuelan artist from his first steps in art until the end of the eighties. His experiences, studies and influences come together in this publication. Gaston Diehl establishes the start of Oswaldo Vigas in art as a time of self-knowledge, experimentation and learning for the artist; in content and shape, while he floated in the magic universe of Venezuela, seduced by its myths and pre-Columbian roots, that paved the way for “Las Brujas”, which gave him the merit to be the winner of the Premio Nacional de Artes Plásticas in 1952.Thanks to this prestigious prize Oswaldo Vigas had the opportunity to go to Paris, where he stayed until 1964. During this period, his language began to transform in search of the essential, the great symbolic figures started to fade away letting in the frontiers of geometric abstraction and later to the informality of violent brush strokes full of matter, that with his return to Venezuela gave life to images filled with myths born from the anger.The author reveals in his work how Vigas was never influenced by the trends of the moment, he was always faithful to himself and his beliefs, faithful to the roots of America.

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The work of Oswaldo Vigas will be assembled on an ambitious publication that the Foundation that bears his name is currently preparing: a book that will become an extraordinary compilation of outstanding researches about his career as an artist. For this publishing project, The Oswaldo Vigas Foundation will bring together texts by renowned art specialists, who will embody from different perspectives the importance of his contribution in the global context. Venezuelan curator Bélgica Rodríguez, will address the study of the work of Oswaldo Vigas in the context of Latin American art; Marek Bartelik, from the U.S., who has a Master of Science degree and a doctorate in art history at the Graduate Center of the City of New York ; has been professor of modern and contemporary art at Cooper Union for the Advancement of Science and Art in New York since 1996, and also has been a visiting professor at Yale University and MIT, and currently serves as President of AICA International, will conduct a study on Vigas and the international context. Alvaro Medina from Colombia, winner of the Colcultura National Prize in 1993, curator of the Museum of Modern Art in Bogotá, novelist and art critic, author of nine books and who is currently a professor at the Institute of Aesthetic Studies of the National University of Colombia, will develop the theme of Vigas and pre-Hispanic art, while Lisbeth Rebollo, writer and art critic from Brazil will contribute with other aspects of Vigas’ work.

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B.1926