Fin de Fiesta

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  • Provenance

    Tasende Gallery, Los Angeles
    Felipe Grimberg Fine Art, Miami
    Acquired from the above by the present owner

  • Exhibited

    Los Angeles, Tasende Gallery, Botero in LA, Drawings, Paintings, Sculpture, September 14 - October 30, 2010, p. 17 (illustrated)

  • Catalogue Essay

    “There was a red-light district in Medellín at the time,” Fernando Botero reminisces of his precocious adolescence in Colombia. “It was an easy-going place; class lines blurred in a sort of never-ending carnival, a permanent street party.” If he sometimes “felt like [he] was the local Toulouse-Lautrec,” a sensitive observer of brothels and their late-night habitués, he began to see beauty in all the vagaries of the human body and humor, as well, in its fleshy flamboyance and grandiosity (Fernando Botero, quoted in Ana María Escallón, “From the Inside Out: An Interview with Fernando Botero,” Botero: New Works on Canvas, New York, 1997, p. 13). Famed for the lushly proportioned, pillowy bodies of his now-eponymous nudes, Botero has for decades applied his facetious wit to subjects ranging from Colombia’s military junta, Catholic churchmen, and mannered bourgeoisie to scenes and drollery from everyday life. Since first departing for Europe in 1952, he has drawn from myriad art-historical sources—Titian and Velázquez; Giotto and Masaccio; Rubens and Ingres—and embraced the classical sensuality of volume, space, and color in his inimitable figures. “For me,” Botero explains, “the pleasure comes from the exaltation of life, which expresses the sensuality of forms. For this reason, my formal problem is to create sensuality through forms.”(Fernando Botero, quoted in Mario Vargas Llosa, “A Sumptuous Abundance,” in Fernando Botero exh. cat., Stockholm, 2001, p. 19)

    In the mid-2000s, Botero ventured into starkly political terrain with a series of paintings, but in the past decade he has returned to a more innocuous iconography of circus performers, family groups, and female nudes. The candy-colored Fin de fiesta reprises the brothel scenes that have long been a fixture in his work, among them House of Mariduque (1970) and House of Amanda Ramírez (1988), and which may have a more distant source in 17th century Dutch paintings of the same subject. Two guitar players preside over a strangely dispassionate bacchanalia, its pairs of lovers pneumatic and lifeless; a bare-breasted woman props her foot on the edge of the bed, a cigarette between her fingers. The scattered cigarette butts and single, exposed lightbulb are familiar embellishments in Botero’s paintings; here, they accent the enveloping, roseate palette of the room, which spreads from the bubble-gum pink walls to the ruddy flesh of its occupants. The tonal harmony is minimally interrupted by slight, faintly ironic contrasts of green: the drawn curtain, the guitarist’s necktie, the man’s briefs, the discarded socks, the cloverleaf-patterned pillowcase. Indeed, the painting’s sensuality derives less from its naked eroticism than from the intensity and equilibrium of its color, which reconciles the makeshift messiness and outlandishness of the scene. “Colors experience friendship, and they produce an atmosphere. And, when there is atmosphere, there is poetry,” Botero once remarked (Fernando Botero, quoted in Marie Pierre Colle, “Fernando Botero,” in Latin American Artists in their Studios, New York, 1994, p. 42). “I am looking for poetry in improbability.”(Fernando Botero, quoted in Ana María Escallón, “From the Inside Out: An Interview with Fernando Botero,” Botero: New Works on Canvas, New York, 1997, p.28.)

  • Catalogue Essay

    「那時,麥德林有個紅燈區。」費爾南多.博特羅這樣回憶起他在哥倫比亞時早熟的青少年時期。「那個隨和的地方,永不停息的嘉年華及永遠的街頭派對,模糊了社會等級。」就像他有時「感覺自己是圖盧茲-勞特蕾克的本地人」,他敏感地觀察著妓院和深夜的常客,開始欣賞人體的變化及其中的幽默,這一切飽含了浮華肉慾(費爾南多.博特羅,〈由內至外:費爾南多.博特羅專訪〉,錄於安娜.瑪利.艾斯卡龍著,《博特羅:畫布新作》,紐約,1997年,第13頁)。憑著豐滿的比例和柔軟的身體,博特羅作的裸體畫與他一起舉世聞名。幾十年來,博特羅在包括哥倫比亞軍政府、天主教傳教士、舉止文明的中產階級和日常生活故事的題材當中添加了他的玩笑和詼諧。自1952年第一次離開故鄉踏足歐洲大陸,他就開始參閱無數,包括提香和委拉茲開斯;喬托和馬薩喬;魯本斯和因格等的藝術史料 。他畫的人物不可複製,交融了古典藝術在體積、空間和顏色的感性。「對於我本人來說」博特羅解釋道「作畫的愉悅源於對生命本身的興奮,表達出的是對形狀的感性。正因這樣,我要解決的問題就是如何用形狀創作感性。」(費爾南多.博特羅,〈奢華的豐富〉,錄於馬里奧.瓦加斯.羅薩著,《費爾南多.博特羅》斯德哥爾摩,2001年,第19頁)


  • Artist Bio

    Fernando Botero

    Colombian • 1932

    Colombian artist Fernando Botero is known for his voluptuous and exaggerated paintings, sculptures and drawings. He studied under Roberto Longhi, a renowned authority on Italian Renaissance and Baroque art, obtaining a remarkable art historical knowledge of Western Classicism. This dialogue between an erudite education and religious art for the masses is the key in the development of his aesthetic.

    Botero was also influenced by Mexican muralism, with which he became acquainted while living in Mexico City. The monumental scale of the human forms in the murals gave rise to the voluminous figures for which he is best known. Botero's works make mordant comments on society's shortcomings; they also incorporate classical elements and are imbued with political satire and caricature.

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Ο ◆47

Property of an Important American Collector

Fin de Fiesta

signed and dated 'BOTERO 09' lower right
oil on canvas
167 x 208.2 cm (65 3/4 x 81 7/8 in.)
Painted in 2009, this work is accompanied by a certificate of authenticity signed by the artist.

HK$4,600,000 - 6,200,000 

sold for HK$5,840,000

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20th Century & Contemporary Art & Design Evening Sale

Hong Kong Auction 28 May 2017