Pedro Báez - ÁVES DEL PARAÍSO - PBC-601

CODE PBC-601

Pedro Báez VENEZUELA

B.1939

-

D.2006

TITLE

SIZE (cm)

DATE / # / EDITION

TECHNIQUE

ÁVES DEL PARAÍSO

81x61

1990 / 55/100

INTAGLIO / HAND SIGNED

https://es.wikipedia.org/wiki/Pedro_B%C3%A1ez_(artista) http://www.museovirtual.gob.ve/creadores/626/pedro_baez

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Pedro Báez. Fundador de la Galería Pedro Báez.

Algunas de obras forman parte de la Colección del Centro Wilfredo Lam.

CODE PBC-601

Pedro Báez VENEZUELA

with the body resolved based on spots and rays. The theme of his works changes and the color is imposed at the same time that it becomes figurative but without losing the gestural outline. In this sense, "Paisaje interior" appears, where it shows drawings of realistic iguanas. On other occasions,

his work is more abstract, as in the exhibition "Florescencias", where a swirl of spots and lines

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-

D.2006

almost does not allow to understand the floral silhouettes. In 1990 he moved east of Venezuela, to the Anzoátegui State, where he set up his workshop in the hamlet of El Chaparro de Guanta. During this time he becomes a colorist painter par excellence, standing out in the manifestation of the marine landscape with a local light and abstract lyrical style. The planes of sky, horizon, sea and land are recognized very well in schematic forms but of realistic appreciation; in the center of these landscapes is concentrated what he has learned. This artist contemplates a final project to make an exhibition in Long Island, USA, Tribute to Walt Withman, which emerges from of the admiration he feels towards the poetry of the American writer. Although it was not carried out, Báez came to make a large series of marine pieces, specifically beaches, which bear the name of the poet with a distinctive number, for example: Withman 104. With respect to the pieces integrated to the architecture and environmental works , he created a stained glass window for the residence of Dr. Armas Mogna in Lecherías, a mural for the Entity and Savings and Loan building in Puerto La Cruz, and a mural for the new Gobernación de Barcelona, ​among others. Pedro held positions of great responsibility in the cultural area, such as the direction of the Peripheral Workshop Federico Brandt of INCIBA and the School of Plastic Arts Armando Reverón de Barcelona. He was a member of the State Commission of Plastic Arts of Anzoátegui and Director of Culture between 1980 and 1981 in this same state, when he created the Official Museum of Anzoátegui; where opens the Miguel Otero Silva Room, with pieces from the writer's private collection. In 1981 he assumed the presidency of the AVAP, Anzoátegui, besides being the artistic director of the magazine Trópicos 3, founding member and director of publications of the Friends of Architecture and Urbanism Society, Puerto La Cruz; and founder of the magazine Punta Seca. Pedro Báez dies on July 6, 2006 in Barcelona; Venezuela, at 66 years of age. Among the tributes after his death, are the inauguration of the Pedro Baez room at the headquarters of Seguros Caracas Liberty Mutual de Lechería, Anzoátegui state, on August 4, 2006; Tribute to Venezuelan Painters for the Embassy of the Bolivarian Republic of Venezuela in Seoul, Korea, with a limited edition of illustrated cards with pieces by Báez (2006); inauguration of the Pedro Báez Exhibition Hall at the Armando Reverón School of Plastic Arts (2007) and the Seventh Biennial to the memory of Pedro Báez at the Galería de Arte Moderno PLC, a serigraphic edition of the artist's work (2007)

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Birth: October 11, 1939.

He stands out not only as an excellent painter, but also specializes in engraving and screen printing techniques, as well as making murals and stained glass windows. From 1956 to 1961 he studied pure art at the School of Plastic and Applied Arts of Caracas. Báez presents his first solo exhibition called "The city and its ranches" in 1963, where he reflects his dissatisfaction with the injustices of the society of this time. Later he carried out his famous exhibition "Los fusilados" (1966), where the paintings, in the words of Ludovico Silva, are composed of violent black features on white. In these samples, Pedro exhibited his adherence to an artistic movement called Nueva Figuración, which began in Venezuela around 1956 and lasted until the 1970s; the conflicts of society, the loneliness of people, the negative psyche in the face of war and the rebellion of this decade was the theme of this movement characterized by its resemblance to the plastic elements of pictorial expressionism: monstrous-looking humans in sordid settings, Strident colorful and man as central figure. As well as Jacobo Borges, Régulo Pérez and Luis Guevara Moreno, Pedro Báez exhibits at the El Circulo del Pez Dorado Gallery, a space that also serves for the gatherings of the members of this movement; in Los Fusilados; It represents the misery of the human being with scenes of shootings and corpses, in a dark atmosphere that is perfectly adapted to the new Venezuelan figuration. In 1966, in addition to proliferating from the artistic point of view for him, he was also a parenthesis to be educated, traveling to France, where he studied engraving at the School of Fine Arts in Paris and the following year joined the team that made the multiple by Víctor Vasarely, the manifolds refers to silk screen production, in addition to research in museums in Europe. When Pedro returns to Venezuela, he takes up the New Figuration and presents Dissections 1 and Dissections 2, in the Viva Mexico Gallery in Caracas; exposing engravings and paintings of human bodies mutilated, deformed and with abstract sections applying the technique of tenebrism. Báez catalogs his pieces at this time as "political painting" because they denounce the atrocities committed during the sixties, not only in Venezuela but the entire world. "The kingdom of this world" was another exhibition that he presented in 1987, which bears the title of a novel by the Cuban writer Alejo Carpentier. This show is an intermediate stage in which he combines figures with abstract and other very realistic parts, with a load of poetry. The forms are heads of birds of prey

B.1939

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