PEDRO CENTENO VALLENILLA - EL CRISTO DE LA PIEDAD - ESTUDIO - PCV-099

Pedro Centeno Vallenilla VENEZUELA

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B.1899

–D.1988

Montura: Madera natural – vidrio

Pedro Centeno Vallenilla

Framework: Natural wood and glass

VENEZUELA

B.1899

CODE PCV099

–D.1988

TITLE

SIZE (cm)

DATE / #/EDITION

TECHNIQUE

EL CRISTO DE LA PIEDAD (ESTUDIO)

32,60 x 24

Circa 1939 / UNIQUE

COLORED PENCILS ON CARTRIDGE / HAND SIGNED

World Wide Certification: Mr. Francisco Da Antonio, Member of International Association of Art Critics, based on Paris, France.

He is also a Member of the Expert Committee of this Association AICA

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CODE PCV099

Pedro Centeno Vallenilla VENEZUELA

B.1899

–D.1988

TITLE

SIZE (cm)

DATE / #/EDITION

TECHNIQUE

EL CRISTO DE LA PIEDAD (ESTUDIO)

32,60 x 24

Circa 1939 / UNIQUE

COLORED PENCILS ON CARTRIDGE / HAND SIGNED

Pedro Centeno Vallenilla (Barcelona, estado Anzoátegui, 13 de junio de 1899 Caracas, 3 de agosto de 1988) fue un pintor, dibujante y abogado venezolano.

Pedro Centeno Vallenilla (Barcelona, ​Anzoátegui state, June 13, 1899 - Caracas, August 3, 1988) was a Venezuelan painter, draftsman and lawyer.

Es conocido por sus obras alegóricas a los caciques indígenas y héroes de la independencia de Venezuela. Posteriores estudios han analizado el contenido homoerótico de sus trabajos.

He is known for his allegorical works to the indigenous chiefs and heroes of the independence of Venezuela. Later studies have analyzed the homoerotic content of his works.

Fue el tercero de seis hermanos, hijo del ingeniero Melchor Centeno Grau y Hercilia Vallenilla Lanz. Sobrino del historiador Laureano Vallenilla Lanz. Inició sus inclinaciones artísticas copiando las litografías reproducidas por la revista El Cojo Ilustrado. En 1908 se residenció en Caracas, donde empieza a dibujar escenas cotidianas. También comenzó sus estudios en el Colegio Francés, encontrando allí el apoyo del presbítero Pavalleaux, quien lo motivó a continuar con su vocación. En 1910 asistió por primera vez a las clases de dibujo en la Academia Nacional de Bellas Artes. Formalizó su inscripción tres años después, siendo alumno regular de los pintores Antonio Herrera Toro, Cruz Álvarez García y Cirilo Almeida Crespo.

He was the third of six brothers, the son of the engineer Melchor Centeno Grau and Hercilia Vallenilla Lanz. Nephew of the historian Laureano Vallenilla Lanz. He began his artistic inclinations by copying the lithographs reproduced by the magazine El Cojo Ilustrado. In 1908 he lived in Caracas, where he begins to draw everyday scenes. He also began his studies at the French College, finding the support of the priest Pavalleaux there, who motivated him to continue his vocation. In 1910 he attended drawing classes for the first time at the National Academy of Fine Arts. He formalized his registration three years later, being a regular student of the painters Antonio Herrera Toro, Cruz Álvarez García and Cirilo Almeida Crespo.

Regresó a Roma en 1928 y participó en una exposición colectiva. Viajó por distintas ciudades de Italia y España. Volvió a trabajar en el servicio diplomático venezolano en la legación ante El Vaticano. En Italia recibió el título de caballero de la Orden de la Corona de Italia. Nuevamente en Caracas, presentó sus obras en el Ateneo de Caracas. Al año siguiente donó a la Catedral de Caracas el cuadro San Sebastían.

También decoró la sede de la embajada venezolana en Washington D.C. con sus murales sobre la historia venezolana.

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In 1915 he presented three of his paintings at the Manrique Photography headquarters.

Two years later he donated his painting The Agony of Jesus to the Caracas Basilica of Santa Teresa. In parallel with his artistic career, he studied law at the Central University of Venezuela, from which he graduated in 1925. He worked as a civil attaché of the Legation of Venezuela in Rome. There he studied the work of Miguel Ángel Buonarroti, and was interested in working in depth on the human figure and symbolism. In 1927 he returned to Caracas and presented an exhibition at the National Museum of Fine Arts.

He returned to Rome in 1928 and participated in a group exhibition. He traveled through different cities in Italy and Spain. He returned to work in the Venezuelan diplomatic service in the legation before the Vatican. In Italy he received the title of knight of the Order of the Crown of Italy. Again in Caracas, he presented his works at the Ateneo de Caracas. The following year he donated the painting San Sebastían to the Cathedral of Caracas. It also decorated the headquarters of the Venezuelan embassy in Washington D.C. with its murals on Venezuelan history.

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En 1915 presentó tres de sus cuadros en la sede de Fotografía Manrique. Dos años después dona su pintura La agonía de Jesús a la caraqueña Basílica de Santa Teresa.

En paralelo con su carrera artística, estudió leyes en la Universidad Central de Venezuela, de la cual se graduó en 1925, Trabajó como agregado civil de la Legación de Venezuela en Roma. Allí estudió la obra de Miguel Ángel Buonarroti, y se interesó por trabajar a profundidad la figura humana y el simbolismo. En 1927 retorna a Caracas y presentó una exposición en el Museo Nacional de Bellas Artes.

CODE PCV099

Pedro Centeno Vallenilla VENEZUELA

B.1899

–D.1988

TITLE

SIZE (cm)

DATE / #/EDITION

TECHNIQUE

EL CRISTO DE LA PIEDAD (ESTUDIO)

32,60 x 24

Circa 1939 / UNIQUE

COLORED PENCILS ON CARTRIDGE / HAND SIGNED

En las décadas siguientes fue definiendo un estilo que combinaba la exhuberencia de los cuerpos, la alegoría del mestizaje criollo, los rasgos neoclásicos y el simbolismo que transcurre entre lo mitológico e histórico. Impresionado por la simbología del fascismo, quiso construir con su obra una «mitología venezolana.

In the following decades it was defining a style that combined the exhuberencia of the bodies, the allegory of the Creole miscegenation, the neoclassical features and the symbolism that passes between the mythological and the historical. Impressed by the symbolism of fascism, he wanted to build a "Venezuelan mythology with his work.

Centeno Vallenilla fue uno de los fundadores de la Asociación Venezolana de Artistas Plásticos Independientes, el cual tuvo vigencia entre 1947 a 1960.

Centeno Vallenilla was one of the founders of the Venezuelan Association of Independent Plastic Artists, which was in effect between 1947 and 1960.

De de sus trabajos más conocidos están los murales sobre lienzo: Venezuela (1953), ubicado en el Círculo Militar, y Venezuela recibiendo los símbolos del Escudo Nacional (1952-1954), el cual se encuentra ubicado en el Salón de los Escudos del Palacio Federal Legislativo, ambos en Caracas.

Among his best-known works are the murals on canvas: Venezuela (1953), located in the Military Circle, and Venezuela receiving the symbols of the National Shield (19521954), which is located in the Hall of Shields of the Palace Federal Legislative, both in Caracas.

Entre sus exposiciones internacionales se encuentran las reallizadas en la Galería Toria en Padua, y la Galería Chaerpentier de París.

Among its international exhibitions are those held at the Toria Gallery in Padua, and the Chaerpentier Gallery in Paris.

Junto con a su labor artística, igualmente destacó como docente.

Along with his artistic work, he also stood out as a teacher.

https://es.wikipedia.org/wiki/Pedro_Centeno_Vallenilla

SEQUENCE OF VIDEOS OF ARTISTIC LIFE

SEQUENCE OF VIDEOS OF ARTISTIC LIFE

https://www.youtube.com/watch?v=y34Lt5v5R-8 https://www.youtube.com/watch?v=QFJ1V2BT7bo https://www.youtube.com/watch?v=IOENs1FAZbQ https://www.youtube.com/watch?v=MNrKE-yATiY

https://www.youtube.com/watch?v=y34Lt5v5R-8 https://www.youtube.com/watch?v=QFJ1V2BT7bo https://www.youtube.com/watch?v=IOENs1FAZbQ https://www.youtube.com/watch?v=MNrKE-yATiY

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https://es.wikipedia.org/wiki/Pedro_Centeno_Vallenilla

CODE PCV099

Pedro Centeno Vallenilla VENEZUELA

B.1899

–D.1988

TITLE

SIZE (cm)

DATE / #/EDITION

TECHNIQUE

EL CRISTO DE LA PIEDAD (ESTUDIO)

32,60 x 24

Circa 1939 / UNIQUE

COLORED PENCILS ON CARTRIDGE / HAND SIGNED

MEDALS THE CACIQUES OF VENEZUELA The CACIQUES DE VENEZUELA have been medals of extraordinary popularity. People have even come to consider them as Venezuelan currencies, which is still believed in certain sectors of the population. The first coinage is dated 1955 and is still being minted.

They used the name "INTER-CHANGE BANK.SUIZA", engraved on the back, like that of a Swiss bank guaranteeing the accuracy of the gold's purity and the weight of the medal.

This, however, was only in the theoretical field, because in practice there was never any supervision of the bank.

The Inter-Change Bank was a small bank that belonged to Dr. Remo Cademartori, creator and promoter of the "Caciques de Venezuela". It seems that the best era of the bank passed during the Perez Jimenez dictatorship. Shortly after the fall of the regime, the bank went bankrupt. Later the name of the bank was eliminated of the "Caciques".

It was gradually replaced as it became necessary to engrave new dies to replace the worn ones.

The obverse of the medals has been preserved with the subsequent coinage, but not the reverse that has undergone many changes. Below are some of the reverse medals.

Its initial owner, Dr. Cademartori, sold after some time his participation in the company Italcambio C.A. In all these years they have been minted in different metals, sizes and weight, and the beautiful collection, which at first were twelve caciques, has increased to more than twenty.

The coining was in charge of Casa Metalor in Caracas.

We have no knowledge at what time it began to be called Metalor Acuñaciones C.A. The fact that the medals were minted in Caracas was not well known among the public. The inclusion of the name of the

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http://www.monedasdevenezuela.net/articulos/medallas-de-los-caciques-de-venezuela/ http://bibliofep.fundacionempresaspolar.org/dhv/entradas/c/centeno-vallenilla-pedro/ https://www.el-carabobeno.com/pintor-pedro-centeno-vallenilla-exalto-a-nuestros-caciques/

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The idea was conceived by Dr. Remo Cademartori, hence the acronym "R.C." stamped on the medals. His advisor in the historical part was Prof. Antonio Reyes, who in 1953 had published a book on the subject. The artist Pedro Centeno-Vallenilla was the author of the designs, hence his signature "P.C-V." Appears engraved on most of the pieces. The sculptor V. Murolo executed the models. Its initials "VM" have only been found in the "Caciques" of the first time.

The engraving of the dies was at first the work of Francisco Tugues, who stamped his last name on the back. Then, from 1957 they were the undisputed work of Renato Bigazzi. When he signed the medals, he proceeded to do so with the initials "R.B.“

Swiss bank Inter-Change Bank in the medal, produced in people the impression that the "Caciques" were coined by the Bank in Helvetic lands.

CODE PCV099

Pedro Centeno Vallenilla VENEZUELA

B.1899

–D.1988

TITLE

SIZE (cm)

DATE / #/EDITION

TECHNIQUE

EL CRISTO DE LA PIEDAD (ESTUDIO)

32,60 x 24

Circa 1939 / UNIQUE

COLORED PENCILS ON CARTRIDGE / HAND SIGNED

THE VENEZUELAN CACIQUES Pedro Centeno Vallenilla (second from right to left), in the La Casona presidential residence, by donating his painting Bolívar farmer to the then president Rafael Caldera. July 22, 1969.

The first minting of the caciques' medals was only 15 pieces medals and over 9 caciques have been coined. The complete list of medals of the caciques minted is as follows:

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Mural Venezuela receiving the symbols of the National Shield, in the Hall of Shields of the Federal Legislative Palace.

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Arichuna Zona de Guayana, up to Valencia Baruta. Los Caracas area, Los Teques area Cayaurima East Zone Chacao. Central Zone to the Avila - Margarita Chicuramay Central Zone of Mariches to Barlovento Guaicaipuro The teques zone, from Miranda to the coast Guaicamacaure Central Coast Area Guaicamacuto. Area of ​the Guariqueño Coast, up to Puerto Cabello Guarauguta. From Caricuao to Trujillo Manaure. Western Zone and Falcon Mara Zone of the Lake of Maracaibo, Zulia Maracay Valley of Aragua area Murachi. Zona Andina, Táchira - Mérida - Trujillo Naiguata. Area of ​the west coast to Margarita Paramacay Central Zone to Aragua Paramaconi. Central Zone Aragua - Miranda, to Anzoátegui Sorocaima Central Zone to Guárico Tamanaco Central Zone, Mariches - Miranda Terepaima Central Zone, up to Cojedes and Lara Tiuna Caracas Curucuti area - Avila to Miranda Urimare Area of ​Sucre - Anzoátegui - Margarita - Litoral Guaireño Yaracuy Yaracuy area, to the Center Yare. Windward Eastern Zone Yoraco Central and Western Zone

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