#venezuelan art

[arthistoryanimalia]

Anteater figure, 1975-77 Warao artist, El Pajal, Venezuela Carved Balsa wood with inlaid seeds 38.2 x 13.4 x 6.2 cm Smithsonian’s National Museum of the American Indian 26/7561

[weepingwidar]

Bernadette Despujols (Venezuelan, 1986) - Adler (2021)

[thunderstruck9]

Mercedes Pardo (Venezuelan, 1921-2005), Enebro, 1981. Oil on canvas_51 3/4 x 46 3/4 in.

[databaseofmaria]

Maria L. Burch-Cianci (Venezuelan,b.1997)

Zentangle Experimentation, 2022

Colored Pencils on Paper

[g3nd3rg4y]

I want to see you fly again

FREE VENEZUELA!! they robbed me of my childhood, my adolescence, my youth, and my dreams. don't let them do the same to any more kids, don't let the regime's violence be ignored, DON'T LET OUR DEAD BE FORGOTTEN. this isn't a matter of right vs left, this isn't a "let's support Maduro because it makes the conservatives mad", PEOPLE ARE SUFFERING AND CHILDREN ARE DYING IN THE STREETS, STOP TURNING A BLIND EYE

i haven't seen my family and friends in 5 years, please let me see them alive and well, please let my little cousin know her homeland, please let my grandma step foot in her town one last time before she passes. LET US BE FREE

[latin-american-diversity]

Ensayando la Postura Nacional by Alexander Apóstol

Based on the paintings of Pedro Centeno Vallenilla

Caracas experienced a strong urban construction growth after the death of the dictator Juan Vicente Gómez in 1936 until the 70´s. Important political changes: European and Latin-American migrations, and especially petroleum costs variations made Venezuelan mentality change at a speeding race to new perspectives that were demonstrated in different areas, architecture being the main element of change towards a modern city. Besides the big social differences, from then on, the Venezuelans have conceived to an extreme this modern period of time as the dream of a better future. In that time, important plastic artist irrupted during the 40´s, 50´s and 60´s; Escuela de caracas (landscaping), Los Disidentes (abstraction), and the Techo de La Ballena (informalism) were some of the most important avant-garde movements. Curiously enough, the Venezuelan artist Pedro Centeno Vallenilla, formed under the fascist Italian regime and exhibitor of a peculiar nationalist theme with a characterized mannerist and exaggerated aesthetic, worked independently from the avant-garde movements, he was even considered as a minor artist by them. Due to Vallenilla´s profound political views at the time, he was able to establish himself as the official painter during the dictatorship of Marcos Pérez Jiménez in the 50´s, where buildings like the National Capitol, the National Military or collections and private homes were decorated with his Works. Nowadays his works are still hung in these official buildings, where the nation’s history and the autochthonous elements together with the exaggerated and idealized aesthetic of the body and race, are the main characters in his work. What interests me is how his fertile visual language feeds the creation myths of the birth of the nation and establishes it like a part of the Venezuelan culture, in the political, social, military and even economic grounds of the country; where his work exemplifies, maybe fortunately, the prejudice, contradictions and acceptations on how Venezuelans want to see ourselves and how we wanted to be seen (and still want to be), contrasting with the exacerbated and vulnerable narcissism that fundaments itself on the starting resentments that we drag on form the colonial times. Finally I would like to focus Centeno Vallenilla´s work, independently from his pictorial quality, like the heir of a confused Venezuelan modernity in conception and ideology, confronted in the same way with the confused and complex political and social times that we are now living. Where the frontier between liberal ideologies and economic pragmatism associated with the conservatives, are faded together with the political ways of the country. In the film and photos, works of Centeno Vallenilla dedicated to the nation’s history, race and traditions, are converted into a tableaux vivant by people that come from the marginated areas of Caracas, but that are situated in the natural context of this artist, these spaces are modern but at the same time unused buildings, like a mansion turned into an office building; Nevertheless, these models try again and again, without achieving the goal, of recreating work by work The forced postures of the personalities represented in Vallenilla´s Works, demonstrating that there is a possibility that the idiosyncrasy of Venezuela comes from the eternal intent, with form but without meaning, of imagining improvised utopias that result in mere rehearsals of the country.

[ameli0n]

Holiiii, no había hecho la publicación aquí pero tengo comis abiertas 💗

No es la "tabla" de ejemplos y precios más bonita, pero algo es algo 🥹

- Personaje adicional 50%+ al precio acordado.

- Tengo otros métodos de pago 🫶.

[elavilaonfire]

Nicolás Ferdinandov - Amanecer en el Cementerio de los Hijos de Dios, 1919

[stroadkill]

Clothes for the Folk Punk music genre. Traditional clothes + punk elements (sort of, I just like banjos and dislike nazi punks). Left to right is Venezuelan, Tunisian and Ukrainian.

[theaskew]

Luchita Hurtado (Venezuelan 1920-2020), Untitled (Resist Series), 1949. Crayon and ink on paper, 28 3/4 × 13 3/4 in. | 73 × 34.9 cm.

[srowdy]

Did a study of Cristobal Rojas' 'La miseria' (1886). He just has a certain look on his face

Actually quite enlightening and fun :] If you haven't seen artwork from Venezuela I encourage you to do so!

[keyboardinpain]

Artista: Armando Barrios (1920-1999)

Cantata 1985

Futuro anterior (inconclusa) 1999

Tambores 1957

Pescadores 1961

[weepingwidar]

Bernadette Despujols (Venezuelan, 1986) - Arco Minero 4 (Mining Arch 4) (2022)

[thunderstruck9]

Darío Pérez-Flores (Venezuelan, 1936-2022), Dynamic Chromatique No. 70, 1993. Acrylic on wood relief, 40 x 40 cm.

[databaseofmaria]

#1 Blue Starry Night pot, clay planet decoration and small plants.

My flowerpots, I created them from scratch and hand painted with acrylic paint, coated with clear gloss. (2022)

#2 Eyes Flower pot

#3 Sunset Flower pot

Maria L. Burch Cianci (Venezuelan, b.1997)

[apamates]

Lamento del Canoero | The Boatman's Lament

Tú lloras porque me voy de aquí, cariño lindo

Y yo porque tú te quedas

Vamos a llorar los dos, mujer

Los dos una misma pena.

Conmigo te llevaría

Si es que llevarte pudiera

Pero el río está creciendo, mujer querida

Y mi curiara es pequeña.