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Lidia MasllorensUntitled
About the Item
“I paint portraits because I am obsessed with the beauty of close-up human faces. I have always spent hours watching faces from behind a camera with a good zoom, and I guess that is why, in my art, I have a gaze, a composition and a format that may look like a photogram.
I have adapted a traditional way to work -with resources such as chiaroscuro and watercolour -, towards a contemporary and current result.
I use simple materials: paper, water and black paint. Nothing else is needed, the minimum to express the maximum.
The synthesis is another obsession I have, and probably, that is why I move through a fine line where nothing is spare or missing: less is more.
My references are contemporary artists who work the human figure in an expressionist and synthetic way: Miquel Barceló, William Kentridge, Marlene Dumas… In all of them I see different ways to find the essential.
I am also inspired by theatre, cinema, and photography: these disciplines are the best sources to explore all the landscapes that you can find in a human face. We are made of emotion and the best way to work it is through emotion.
I work to find the ideal portrait: that one with no spare or missing brushstrokes to express the essence of what we are.”
Lídia Masllorens
January, 2017
- Creator:Lidia Masllorens (1967, Spanish)
- Dimensions:Height: 59.06 in (150 cm)Width: 59.06 in (150 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:PARIS, FR
- Reference Number:1stDibs: LU2506213391192
Lidia Masllorens
Lídia Masllorens is attracted by a moderate abstraction, which allows the observer to interpret the painting with precision and to perceive implicit realities, to recreate, to dream. Her large-scale works have a strong presence and exude remarkable dynamism and vitality. And this is all the more remarkable as it is a work on paper, a work of withdrawal and not of superimposition of layers. The portraits are painted in black acrylic, which is then removed and washed off with a mixture of water and bleach. This technique produces the beautiful colour palette that distinguishes her work, with shades ranging from pink to white and from black to grey. Lídia's strokes are sharp and fast, resulting in many losses and failures due to the destructive nature of bleach and the unpredictable behaviour of water. Lídia takes a unique approach to the watercolour technique. She wants the paper to suck in the water to distort and bend, for the water to flow onto the canvas, for the paint to disintegrate and for her lines to crumble under the bleach. Her monotypes have travelled the world. Her work has been exhibited at the Sorbonne Catalan Art Centre in Paris, the Osaka Centre for Contemporary Art in Japan, as well as in galleries in Cologne, Antwerp, Barcelona and Paris. Her paintings have also been exhibited in numerous European and American art fairs. At present, she continues to experiment with close-ups of faces in her studio in Cassà de la Selva.
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By Lidia Masllorens
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“I paint portraits because I am obsessed with the beauty of close-up human faces. I have always spent hours watching faces from behind a camera with a good zoom, and I guess that i...
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Untitled
By Fernando Botero
Located in PARIS, FR
Fernando Botero (Colombian, b.1932) is celebrated for his painted and sculpted scenes featuring animals and figures with inflated proportions, reflecting the artist’s predilection for satire, caricature, and political commentary.
Born in Medellin, Colombia, Botero began exhibiting his paintings there in 1948, and later worked as a set designer in Bogotá. In the 1950s, he traveled to several different European countries, including Spain, Italy, and France, to study the work of Renaissance and Baroque masters. He also traveled to Mexico to familiarize himself with the current Mexican avant-‐garde. Botero became renowned for the varied source material he drew upon, from Colombian folk imagery to canonical works by Diego Velázquez, Pablo Picasso, and Francisco de Goya.
In his depictions of contemporary Latin American life, he portrays the poverty and violence prevalent in Colombia in somber images, as well as in his iconic inflated figures, satiric images of Latin American presidents, first ladies, and government officials. A meeting with Dorothy Miller from The Museum of Modern Art in the early 1960s proved to be a turning point in his career; she acquired his work at a time when abstraction was the celebrated idiom, and he later exhibited his work in a major exhibition at the museum, solidifying his international reputation.
In the 1970s, Botero moved to Paris, where he created large figural sculptures with his signature inflated forms. He remains engaged with images of his Latin American home city, and with overtly political imagery; his recent works include large paintings of prisoners at Abu Ghraib in a direct commentary on the war in Iraq. Botero has exhibited his work at the Museum of Modern Art in Copenhagen, the Maillol Museum in Paris, the Palazzo Benezia in Rome, the Hermitage Museum in St. Petersburg, and the National Museum in Bogotá. He currently lives and works in Paris, Montecarlo, and New York.
2012–2013 Museo Bellas Artes de Bilbao, Bilbao, Spain
2012 Una celebración, Palacio Bellas Artes de México, Mexico
2012 Hommage zum 80. Geburtstag, Botero -‐ Gemälde, Skulpturen und Zeichnungen, Samuelis Baumgarte Galerie, Bielefeld, Germany
2010 Art is deformation, Nassau County Museum of Art, Roslyn Harbor, NY (solo)
Inaurgural Exhibition: Fernando Botero, David Benrimon Gallery, New York, NY (solo)
Latinas!, Nassau County Museum of Art, Roslyn Harbor, NY
2009 Gary Nader Fine Art, Coral Gables, FL
Fernando Botero: The Circus. James Goodman Gallery, New York, NY
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2008 The Baroque World of Fernando Botero, Brooks Museum of Art, Memphis, TN; New Orleans Museum of Art, New Orleans, LA; Delaware Art Museum, Wilmington, DE
2007–2008 Botero: Oeuvres récentes, Marlborough Monaco, Monte Carlo, Monaco (solo)
2007 Fernando Botero: Abu Ghraib, University of California, Berkeley, CA (solo)
The Baroque World of Fernando Botero, Musée National des Beaux-‐Arts du Québec, Canada (solo) Delaware Art Museum, Wilmington, DE (solo)
New Orleans Museum of Art, New Orleans, LA (solo)
Summer Exhibition, Marlborough Gallery, New York, NY
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