Rafael Barradas
Rafael Justino María José Pascual Pérez Giménez Barradas
(Montevideo, Uruguay, 1890 - 1929)
Foto / Photo: Museo de Bellas Artes Juan Manuel Blanes
"Zíngaras", óleo sobre tela / oil on canvas, 118 x 98 cm., 1918
Museo Nacional de Artes Visuales (Montevideo, Uruguay)
Rafael Justino María José Pascual Pérez Giménez Barradas nació en Montevideo el 4 de enero de 1890. Era hijo de padre y madre españoles. Su padre era pintor, lo cual hizo que se familiarizara desde muy temprano con el lenguaje plástico. No se le conoce un aprendizaje sistemático. Participa en las tertulias montevideanas con intelectuales como Frugoni, Florencio Sánchez y Lasplaces, entre otros, costumbre que continuará en España.
Rafael Justino María José Pascual Pérez Giménez Barradas was born in Montevideo on January 4, 1890. He was the son of Spanish parents. His father was a painter, which made very early became familiar with the visual language. Not known systematic learning. He participates in Montevidean conversations with intellectuals like Frugoni, Florencio Sanchez and Lasplaces, among others, a practice that he continued in Spain.
Rafael Justino María José Pascual Pérez Giménez Barradas was born in Montevideo on January 4, 1890. He was the son of Spanish parents. His father was a painter, which made very early became familiar with the visual language. Not known systematic learning. He participates in Montevidean conversations with intellectuals like Frugoni, Florencio Sanchez and Lasplaces, among others, a practice that he continued in Spain.
"El Gaucho", óleo sobre cartón / oil on cardboard, 60 x 40 cm., 1927
Museo Nacional de Artes Visuales (Montevideo, Uruguay)
Colabora desde muy joven en periódicos y revistas de Montevideo y Buenos Aires como ilustrador. En 1912 realiza una exposición de acuarelas junto a Guillermo Laborde y hacia fin de año realiza una de caricaturas. En 1913 funda "El Monigote", publicación satírica sobre el ambiente cultural. Ese mismo año viaja a Europa radicándose finalmente en España.
From a very young age he collaborates in newspapers and magazines in Montevideo and Buenos Aires as an illustrator. In 1912 he held an exhibition of watercolors with Guillermo Laborde and by year-end another one with caricatures. In 1913 he founded "The Monigote" satirical publication on the cultural environment. That same year he traveled to Europe finally settling in Spain.
From a very young age he collaborates in newspapers and magazines in Montevideo and Buenos Aires as an illustrator. In 1912 he held an exhibition of watercolors with Guillermo Laborde and by year-end another one with caricatures. In 1913 he founded "The Monigote" satirical publication on the cultural environment. That same year he traveled to Europe finally settling in Spain.
"Jugadores de naipes / Card Players", témpera sobre cartón / tempera on cardboard, 49 x 59 cm., 1917
Colección particular / Private Collection
"La familia / The Family", óleo sobre tela / oil on canvas, 108 x 140 cm., 1922
Museo Nacional de Artes Visuales (Montevideo, Uruguay). Foto / Photo: Javier Fuentes, 10/2011
Durante su estancia en Barcelona se vincula con Joaquín Torres García y exponen juntos en la Galería Dalmau. Frecuenta tertulias artísticas y conoce a poetas, críticos y artistas españoles vinculados a la vanguardia. Expone en Madrid en 1917 mientras realiza numerosos trabajos gráficos en Barcelona. Un año después lleva a cabo su primera muestra individual donde propone su concepción estética: el vibracionismo. Es recibido por el movimiento ultraísta como uno de sus más importantes representantes y colabora en numerosas revistas del movimiento.
During his stay in Barcelona it is linked to Joaquin Torres Garcia and exhibited together in the Dalmau Gallery. He frequents artistic gatherings and meet poets, critics and Spanish artists linked to the avant garde. He exhibits in Madrid in 1917 while performing numerous graphic works in Barcelona. A year later held his first solo show where he proposes his aesthetic conception: the Vibrationism. It is hosted by the Ultraist movement as one of his most important representatives and collaborates in numerous magazines of the movement.
During his stay in Barcelona it is linked to Joaquin Torres Garcia and exhibited together in the Dalmau Gallery. He frequents artistic gatherings and meet poets, critics and Spanish artists linked to the avant garde. He exhibits in Madrid in 1917 while performing numerous graphic works in Barcelona. A year later held his first solo show where he proposes his aesthetic conception: the Vibrationism. It is hosted by the Ultraist movement as one of his most important representatives and collaborates in numerous magazines of the movement.
"Muñeca (Pepona) / Doll", óleo sobre lienzo / oil on canvas, 53 x 62 cm., 1919
Hacia 1920 en Madrid es contratado como dibujante para la "Biblioteca Estrella", para la cual ilustra ediciones de clásicos. Despliega una gran actividad como escenógrafo, figurinista y afichista para el Teatro del Arte. Organiza su propia tertulia en el café Oriente frecuentado por grandes exponentes culturales como Dalí, Buñuel o García Lorca. Colabora con Borges en la revista "Tableros" y es nombrado director artístico de la revista "Alfar". En 1923 se traslada a la localidad de Luco de Jiloca, sus trabajos incursionan ahora en una búsqueda más realista e inicia su serie denominada por él como "Los Magníficos", representando a personajes populares.
Around 1920 in Madrid he was hired as a cartoonist for the "Star Library", which illustrates editions of classic. He was very active as a set designer, costume designer and poster designer for the Art Theater. He organizes his own gathering in the "Cafe Oriente" frequented by great cultural exponents as Dalí, Buñuel and García Lorca. Collaborates with Borges in the magazine "Boards" and was appointed artistic director of the magazine "Alfar". In 1923 he moved to the town of Luco de Jiloca, his works now venture into a more realistic search and begins his series called by him as "The Magnificent", representing popular characters.
Around 1920 in Madrid he was hired as a cartoonist for the "Star Library", which illustrates editions of classic. He was very active as a set designer, costume designer and poster designer for the Art Theater. He organizes his own gathering in the "Cafe Oriente" frequented by great cultural exponents as Dalí, Buñuel and García Lorca. Collaborates with Borges in the magazine "Boards" and was appointed artistic director of the magazine "Alfar". In 1923 he moved to the town of Luco de Jiloca, his works now venture into a more realistic search and begins his series called by him as "The Magnificent", representing popular characters.
"Barcelona, 1918", témpera sobre papel / tempera on paper, 49 x 45 cm
Ayuntamiento de L'Hospitalet (Barcelona, España / Spain)
Nuevamente en Madrid, en 1924, trabaja para la editorial Espasa Calpe y para la Revista de Occidente. Un año más tarde una serie de marinas y acuarelas son el testimonio de su pasaje por San Juan de Luz. Recibe el premio Grand Prix en la categoría teatro en la Exposición Internacional de Artes Decorativas e Industriales de París. Se muda a Hospitalet de Llobregat, Barcelona, donde realiza una serie de paisajes de la localidad y es frecuentado por intelectuales y artistas.
Ya enfermo retorna a Montevideo donde es homenajeado en el Teatro Solís. Muere el 12 de febrero de 1929.
Back in Madrid again, in 1924, he works for the publishing house Espasa Calpe and the Revista de Occidente. A year later a number of sea landscapes and watercolors are the testimony of his passage through San Juan de Luz. He received the Grand Prix award in the theater at the International Exhibition of Decorative and Industrial Arts in Paris. He moved to Hospitalet de Llobregat, Barcelona, where he made a series of landscapes of the town and was frequented by intellectuals and artists. Being sick he returned to Montevideo where he is honored at the Teatro Solis. He died on February 12, 1929.
Back in Madrid again, in 1924, he works for the publishing house Espasa Calpe and the Revista de Occidente. A year later a number of sea landscapes and watercolors are the testimony of his passage through San Juan de Luz. He received the Grand Prix award in the theater at the International Exhibition of Decorative and Industrial Arts in Paris. He moved to Hospitalet de Llobregat, Barcelona, where he made a series of landscapes of the town and was frequented by intellectuals and artists. Being sick he returned to Montevideo where he is honored at the Teatro Solis. He died on February 12, 1929.
La biografía está tomada del MNAV, pero para quien quiera profundizar, hay un interesante artículo aquí.
Biographic information from MNAV Website (in Spanish), but if you want to deepen, there is an interesting article (also in Spanish) here.
Biographic information from MNAV Website (in Spanish), but if you want to deepen, there is an interesting article (also in Spanish) here.
Rafael Barradas en "El Hurgador" / in this blog: [Recolección (CXLVI-1)]
(Cerro Chato, Tacuarembó, Uruguay, 1919 -
Nueva York, EE.UU./ NY, USA, 2009)
Julio Alpuy nació el 27 de enero de 1919 en Cerro Chato en el departamento de Tacuarembó (Uruguay) y residió en Nueva York desde diciembre de 1961, donde prosiguió una trayectoria creativa muy vinculada con el Uruguay y su formación en este país.
Julio Alpuy was born on January 27, 1919 in Cerro Chato in the department of Tacuarembó (Uruguay) and lived in New York since December 1961, where he pursued a creative career closely linked with Uruguay and his training in this country.
Julio Alpuy was born on January 27, 1919 in Cerro Chato in the department of Tacuarembó (Uruguay) and lived in New York since December 1961, where he pursued a creative career closely linked with Uruguay and his training in this country.
"Génesis I", óleo sobre madera tallada / oil on carved wood, 47 x 69,1 cm., 1964
"Naturaleza Muerta, El Día / Still Life, El Día", óleo sobre cartón / oil on cardboard, 39 x 50 cm., 1946
"Las cuatro estaciones / The Four Seasons", óleo sobre cartón / oil on cardboard, 70 x 70 cm., 1955
Los oficios son un tema fundamental dentro del universalismo constructivo de Alpuy, y aparecen representados de manera simbólica en muchas obras de la década del 50 los astrónomos, matemáticos, físicos, cargadores, labradores, vendimiadores, obreros, panaderos, fabricantes de adoquines... El hombre trabajando tanto en tareas intelectuales como físicas es un tema que reverenciaba.
The professions are a key issue within Alpuy's constructive universalism, and are represented symbolically in many works of the 50s: astronomers, mathematicians, physicists, shippers, farmers, harvesters, workers, bakers, producers of cobblestones ... man working in both intellectual and physical tasks is an issue that he reverenced.
The professions are a key issue within Alpuy's constructive universalism, and are represented symbolically in many works of the 50s: astronomers, mathematicians, physicists, shippers, farmers, harvesters, workers, bakers, producers of cobblestones ... man working in both intellectual and physical tasks is an issue that he reverenced.
"Grafismo en rojo / Graphism in Red", 1962
Fue uno de los representantes más conspicuos de la Escuela del Sur y del Universalismo Constructivo y un original creador de maderas y relieves en lenguaje propio. Perteneció a un hogar muy humilde y tuvo escasa instrucción formal antes de conocer a Joaquín Torres García. Cuando ocurrió sólo había visto una exposición en su vida, por azar y sin preparación previa: se trataba de una muestra de José Cúneo en la que estuvo toda una tarde, hecho que recordaba emocionado.
He was one of the most conspicuous representatives of the South School and Constructive Universalism and original creator of woods and reliefs in his own language. He belonged to a very humble home and had little formal education before meeting Joaquín Torres García. When it happened he had only seen an exhibition on his life by chance and without preparation: it was an exhibition of José Cuneo's wrok where he spent a whole afternoon. He remembered this fact very touched.
He was one of the most conspicuous representatives of the South School and Constructive Universalism and original creator of woods and reliefs in his own language. He belonged to a very humble home and had little formal education before meeting Joaquín Torres García. When it happened he had only seen an exhibition on his life by chance and without preparation: it was an exhibition of José Cuneo's wrok where he spent a whole afternoon. He remembered this fact very touched.
"Gran paisaje constructivo de Montevideo / Great Constructive Landscape of Montevideo"
Óleo sobre tela / oil on canvas, 208 x 125 cm., 1957
Óleo sobre tela / oil on canvas, 208 x 125 cm., 1957
Gracias a esa experiencia se compró lápices, crayones, tinta china y papeles, y se abocó a dibujar sin cesar, encerrado en su cuarto, sin mostrar su trabajo a nadie; lo hacía de manera muy naïf, en forma solitaria, luego de largas jornadas de trabajo y estudio, y sin pensar en lo artístico como una profesión: era una manera de reflejar su deslumbramiento ante la exposición y una necesidad expresiva imperiosa. Recién mucho más tarde y gracias a su contacto con Torres García comenzaría a concebirse como artista.
Murió en 2009.
Wikipedia
Thanks to that experience he bought pencils, crayons, ink and paper, and set about drawing incessantly, in his room, showing your work to anyone; he did so in very naive way, in solitary after long days of work and study, and without thinking in art as a profession: it was a way to reflect his glare to the exhibition and a pressing need for expression. Just much later and through contact with Torres Garcia begin conceived himself as an artist.
He died in 2009.
Wikipedia (in Spanish)
Murió en 2009.
Wikipedia
Thanks to that experience he bought pencils, crayons, ink and paper, and set about drawing incessantly, in his room, showing your work to anyone; he did so in very naive way, in solitary after long days of work and study, and without thinking in art as a profession: it was a way to reflect his glare to the exhibition and a pressing need for expression. Just much later and through contact with Torres Garcia begin conceived himself as an artist.
He died in 2009.
Wikipedia (in Spanish)
"Creación I / Creation I", relieve en madera pintada / relief on painted wood, 47 x 69 cm., 1964
"Techos IV / Rooftops IV", 1943
Quien quiera profundizar un poco más en su biografía y ver algunas otras obras, puede hacerlo en la página del Museo Virtual de El País.
If you want to know more about his biography and check out some more works, you can do it in the website of Museo Virtual de El País.
If you want to know more about his biography and check out some more works, you can do it in the website of Museo Virtual de El País.
(Mercedes, Soriano, Uruguay, 1878 - Montevideo, 1901)
Carlos Federico Sáez en su estudio de Montevideo, en la calle Zabala /
at his Atelier in Zabala Street, Montevideo, c.1900. Pinterest
at his Atelier in Zabala Street, Montevideo, c.1900. Pinterest
Nace en Mercedes, Soriano, en 1878 en el seno de una familia de alta condición social.
Dibuja y pinta como autodidacta desde la niñez dando muestras de una inusual precocidad. A los trece años se traslada a Montevideo concurriendo a las clases de pintura del profesor Juan Franzi. En la misma época presenta sus trabajos a la exigente mirada del artista Juan Manuel Blanes quien aconseja que el joven Sáez consolide su formación en Italia. El gobierno uruguayo otorga una beca de estudios al artista de sólo 14 años de edad. Se inicia de esta forma un periplo de siete años de estadía europea quedando bajo la tutela de Daniel Muñoz, Ministro uruguayo en Roma. Sáez concurre un tiempo a la Academia de Bellas Artes en Roma, pero pronto se enrola en las nuevas corrientes de la pintura italiana finisecular de clara postura antiacadémica.
He was born in 1878 in Mercedes, Soriano in a family of high social status.
Draw and paint self-taught from childhood showing signs of an unusual precocity. At thirteen he moved to Montevideo by attending painting classes taught by Juan Franzi. At the same time presented their work to the discerning eye of the artist Juan Manuel Blanes who advises the young Saez consolidate his training in Italy. The Uruguayan government granted a scholarship to the only 14 years old artist. He began this way a seven years tour in Europe under the tutelage of Daniel Muñoz, Uruguayan Minister in Rome. Saez goes for a while to the Academy of Fine Arts in Rome, but soon enlisted in the new late-century Italian clearly anti-academic streams.
He was born in 1878 in Mercedes, Soriano in a family of high social status.
Draw and paint self-taught from childhood showing signs of an unusual precocity. At thirteen he moved to Montevideo by attending painting classes taught by Juan Franzi. At the same time presented their work to the discerning eye of the artist Juan Manuel Blanes who advises the young Saez consolidate his training in Italy. The Uruguayan government granted a scholarship to the only 14 years old artist. He began this way a seven years tour in Europe under the tutelage of Daniel Muñoz, Uruguayan Minister in Rome. Saez goes for a while to the Academy of Fine Arts in Rome, but soon enlisted in the new late-century Italian clearly anti-academic streams.
Retrato del Sr. / Portrait of Mr. Juan Carlos Muñoz, óleo sobre tela / oil on canvas, 50 x 61 cm., c.1899
Museo Nacional de Artes Visuales (Montevideo, Uruguay)
El Sr. Muñoz, amigo y mentor de Sáez, fue retratado varias veces por éste en Italia. Como vemos, el modelo parece emerger de un fondo de pinceladas de colores neutros, sin objeto ni escenario alguno como entorno; éste vacío lo muestra solo, casi abandonado. Su figura decaída y flotante nos mira entre triste y displicente, al parecer sin interesarse demasiado en el resultado final de la sesión de pintura.
Éste cuadro es otro ejemplo de la hondura psicológica alcanzada por Sáez, de los matices de personalidad que lograba transmitir desde sus obras a pesar de su juventud casi adolescente.
Mr. Munoz, Saez friend and mentor, was portrayed several times by him in Italy. As we can see, the model seems to emerge from a background of neutral color brushstrokes without any object or scenario as environment; this void shows him alone, almost abandoned. His listless and floating figure watching us sad and indifferent, apparently without too much interest in the outcome of the painting session.
This painting is another example of the psychological depth reached by Saez, the nuances of personality that could transmit from his work despite his almost adolescent youth.
Mr. Munoz, Saez friend and mentor, was portrayed several times by him in Italy. As we can see, the model seems to emerge from a background of neutral color brushstrokes without any object or scenario as environment; this void shows him alone, almost abandoned. His listless and floating figure watching us sad and indifferent, apparently without too much interest in the outcome of the painting session.
This painting is another example of the psychological depth reached by Saez, the nuances of personality that could transmit from his work despite his almost adolescent youth.
Der./ Right: "Retrato de / Portrait of Sarah Silvia Sáez", óleo sobre tela / oil on canvas, 61 x 43 cm.
"Por intermedio de la macchia, técnica que suponía un cierto dinamismo en el trazo, logró superarse la operática y la parálisis a las que había sucumbido la Academia. El procedimiento fue empleado, casi exclusivamente, para pintar paisajes, escenas de género y retratos; a éstos Sáez les dedicó ardorosa, infatigablemente, su vida" (Angel Kalenberg, "Seis maestros de la pintura uruguaya" Mosca Hnos. S. A., Montevideo, 1987)
"Through the macchia technique that involved a certain dynamism in the line, he managed to overcome the operatic and paralysis which had succumbed Academy. The procedure was used almost exclusively to painting landscapes, genre scenes and portraits; Sáez dedicated his life to them, ardently and tirelessly"(Angel Kalenberg," Six teachers of Uruguayan painting "Mosca Hnos. SA, Montevideo, 1987)
"Through the macchia technique that involved a certain dynamism in the line, he managed to overcome the operatic and paralysis which had succumbed Academy. The procedure was used almost exclusively to painting landscapes, genre scenes and portraits; Sáez dedicated his life to them, ardently and tirelessly"(Angel Kalenberg," Six teachers of Uruguayan painting "Mosca Hnos. SA, Montevideo, 1987)
"Cabeza de viejo / Head of an Old Man", óleo sobre tela / oil on canvas, 60 x 52,50 cm., 1899
Museo Nacional de Artes Visuales (Montevideo, Uruguay).
Sáez pinta rostros eligiendo a sus modelos sin trabajar por encargo; a veces modelos profesionales, en la mayoría de los casos personajes con los que tiene fuertes vínculos: su familia, sus amigas, sus amigos. No pinta grupos, retrata individuos en soledad. A excepción de sus dibujos, no pinta desnudos. Dibuja con el pincel y la mancha gobierna el contorno. Su pincelada rápida da a sus figuras la sensación de ser captadas en un instante. Los fondos ostentan una generosidad matérica que generan un contrapunto de atención con la figura generalmente organizada en forma piramidal.
Sáez paint faces choosing his models working without commisions; sometimes professionals models, in most cases the characters with which it has strong ties: his family and his friends. No groups paints, he portrays individuals alone. Except for his drawings, not painting nudes. Draw with the brush and the stain governs the outline. His rapid brushwork gives his figures the feeling of being captured in an instant. The backgrounds hold a bounty of materials that generate a counterpoint of attention with the figure usually organized in a pyramid.
Sáez paint faces choosing his models working without commisions; sometimes professionals models, in most cases the characters with which it has strong ties: his family and his friends. No groups paints, he portrays individuals alone. Except for his drawings, not painting nudes. Draw with the brush and the stain governs the outline. His rapid brushwork gives his figures the feeling of being captured in an instant. The backgrounds hold a bounty of materials that generate a counterpoint of attention with the figure usually organized in a pyramid.
Der./ Right: "Ciocciaro", pastel tiza sobre papel / chalk pastel on paper, 42 x 60 cm. 1895
Museo Eusebio Giménez (Mercedes, Soriano, Uruguay)
Al decir del crítico José P. Argul, Sáez es un "espectador genial del 1900. (...) conserva intacta la frescura del "vero" (...) este pintor que agrega con sus modelos más próximos de familiares y amigos una excepcional nota de mundanismo elegante, incluso de dandysmo" (José Pedro Argul "Sáez", Ediciones de Jorge de Arteaga y Galería Latina, Montevideo, 1986)
Regresa a Montevideo en 1900. Ya enfermo, interviene en el concurso de afiches para el carnaval montevideano organizado por el Ateneo de Montevideo; lo gana.
Pueden verse obras suyas en el Museo Nacional de Artes Visuales, Museo Juan M. Blanes y en el Museo Eusebio Giménez de su ciudad natal. Muere a los 22 años, el 4 de enero de 1901.
In the words of critic Joseph P. Argul, Saez is a "great viewer of 1900. (...) he has preserved the freshness of "real" (...) this painter who adds to his closest subjects of family and friends an outstanding note of elegant worldliness, even dandyism "(José Pedro Argul" Saez "Editions Gallery Jorge Arteaga and America, Montevideo, 1986)
He returned to Montevideo in 1900. Already ill, is involved in the poster contest for the Montevideo carnival organized by the Ateneo de Montevideo, and he won it.
His works can be seen at the National Museum of Visual Arts, Juan M. Blanes Museum and the Museum of Eusebio Giménez at his hometown. Dies at age 22, the January 4, 1901
Carlos Federico en su atelier romano de / at his Roman Atelier, Via Margutta 3. Pinterest
In the words of critic Joseph P. Argul, Saez is a "great viewer of 1900. (...) he has preserved the freshness of "real" (...) this painter who adds to his closest subjects of family and friends an outstanding note of elegant worldliness, even dandyism "(José Pedro Argul" Saez "Editions Gallery Jorge Arteaga and America, Montevideo, 1986)
He returned to Montevideo in 1900. Already ill, is involved in the poster contest for the Montevideo carnival organized by the Ateneo de Montevideo, and he won it.
His works can be seen at the National Museum of Visual Arts, Juan M. Blanes Museum and the Museum of Eusebio Giménez at his hometown. Dies at age 22, the January 4, 1901
Apunte biográfico de / Biographic information from MNAV.
Carlos Federico Sáez en "El Hurgador" / in this blog: [Recolección (CXLVI-2)]
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ACTUALIZACIÓN / UPDATE: 29/9/2015
Imágenes de mejor calidad, enlaces revisados, pies de foto mejorados, textos en inglés /
Better quality images, checked links, improved captions, english text
ACTUALIZACIÓN / UPDATE: 2/4/2020
Imágenes de mejor calidad, pies de foto mejorados, nuevas fotografías de Barradas y Sáez
Better quality images, improved captions, new photos of Barradas and Sáez
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