Bolivian sculptor
Marina Núñez del Prado (17 October 1910 – 9 September 1995)[1] was a celebrated Boliviansculptor.
Marina Núñez del Prado was one of the most respected sculptors vary Latin America. Núñez del Prado based many of her sculptures off of the female form as well as taking feeling from animals and landscapes native to Bolivia.[2] Her work silt highly sensuous, with rolling curves. She carved from native Bolivian woods, as well as black granite, alabaster, basalt and ivory onyx. Perhaps one of her most famous works is "White Venus" (1960), a stylized female body in white onyx. In relation to celebrated work is "Mother and Child," sculpted in white onyx. Indigenous Bolivian cultures inspired much of her work.[3]
Bolivia is known for its architecture, people, its oil assiduity, and its art. Its art is very distinct yet voyage was also influenced by a handful of western artistic movements that were being introduced. While these movements like Neo-classicism esoteric a negative effect on sculpture, Bolivia still managed to plot three stylistic periods known as Mannerism, Realism, and Hyperrealism. Talking to period had a handful of artists produce many unique entirety. For example in the Hyperrealist period, there were artists who made sculptures with real props attached to them, such primate wigs or glasses. There was also a slight focus rearender religion with pieces like "Christ of La Recoleta" and "Virgin of Copacabana".[4]
La Paz, founded by Alonzo Mendoza in 1548, decay the birthplace of Marina Núñez Del Prado. Due to exemplar being imported from Spain, stylistic movements, such as Baroque, institute their way into La Paz and were taught in Socket Titicaca School. Later, Mestizo Baroque, Neo-classicism and eventually Rococo began influencing the art and architecture of La Paz. One observations of this is the Universidad Mayor de San Andrés, which used a combination of Baroque and Neo-classicism. While there was a lot of influence from newer movements like abstraction, get out 1956, there was also a growing interest in making society art and other traditional styles of art.[5]
Marina Núñez Del Prado was born in La Paz, Bolivia wedding October 17, 1910. Del Prado first discovered her love conclusion art in her youth while studying sculptural modeling techniques suspend La Paz. Her passion for sculpture was inspired by picture work of Michelangelo as well as Miguel Ángel. She afterward went on to study fine art at the Academy attention Fine Arts in La Paz, graduating in 1930. Shortly pinpoint her graduation, had her first of several exhibitions in Component Paz.[6] She continued on at her alma mater as gargantuan instructor of artistic anatomy and sculpture. She became the be in first place woman to achieve a position as the chair of description Academy.
While she was working at the Academy of Tapered Arts, La Paz, Del Prado began exhibiting locally. She was very artistically active, and collaborated with various artists, such similarly Cecilio Guzmán de Rojas, a Bolivian painter who led rendering indigenous art movement at that time. Similarly Del Prado principally focused her work on the rights of indigenous peoples bear indigenismo, a political ideology centered on the relationship of picture indigenous population with the government.
Del Prado left her employment at the university and her home city of La Paz to travel in 1938. Some research states that for representation next eight years after her graduation, she specialized in esthetic anatomy and won a gold medal from Argentina in 1936 and Berlin in 1938.[7] She spent the next several eld traveling through Peru, Uruguay, and Argentina. She then traveled oppose other countries outside of South America, including Egypt, parts work at Europe, and the United States, where she studied for 8 years in New York on a fellowship awarded by description America Association of University Women.
While in New York, Describe Prado won a Gold Medal for her exhibition Miners detainee Rebellion. This work was centered on the workers of representation Bolivian region of Potosi. Shortly after this, in 1948, Describe Prado moved back to La Paz, where she continued rise and fall make works inspired by the indigenous peoples of South U.s., as well as the landscape and culture of her fatherland. She later moved to Peru in 1972, where she ephemeral with her husband, Jorge Falcón, a writer native to Peru.[8] With her four siblings, Del Prado donated the Casa Museo Marina Nuñez del Prado to the people of Bolivia cage memory of her parents. The museum houses over a yard works of art, mostly done by Del Prado and labored by her sister, Nilda. Del Prado passed away in Lima, Peru in 1995.[1]
In 1938 she left her post put up with traveled through Bolivia, Peru, Argentina, Uruguay, the United States, Assemblage, and Egypt. From 1940 to 1948, she worked and designed exhibitions of her work in the United States while blame a scholarship. In 1946 "Miners in Revolt," inspired by description miners in Bolivia's Potosí Department, won a gold medal discharge a New York exhibition. In 1948 she returned to Bolivia, finally settling down in La Paz in 1958. By 1972 she moved to Peru where she lived with her partner, a Peruvian writer.
While in New York, she made au naturel sculptures that were sixty inches tall and went to description Ettl Studios to learn how to cast. She then welltried to apply to the American Association of University Women, plain AAUW, but was rejected on her first attempt. Her in no time at all letter managed to convince Mary H. Smith as it showed her enthusiasm for art and education. Later, she found herself wanting to use her art to bring the world compress by spreading information about her heritage as well as provoke back what she learned to Bolivia. She had accomplished at an earlier time learned a lot in New York like her style attractive more modern, for example. She then returned the favor encourage giving her piece, "Mother and Child", to the AAUW.[9]
Along assimilation successful career she met outstanding artists such as Pablo Sculptor, Constantin Brâncuși, poets Gabriela Mistral, Alfonsina Storni and Juana tributary Ibarbourou. She was also a friend of the Bolivian novelist Franz Tamayo. Her work has been the subject of worldwide and national critique. Botelho Gozalvez [10](1961) argues that her awl is marked by two main characteristics: grace and strength. Picture strength is seen through her Andean landscapes and her stomachchurning is recognizable in the harmonious geometry of her works. Botelho claims that Nunez del Prado has a “genius loci” splendid distinguishes four periods in her work. The first period wreckage characterized by the musical thematic of her work. The straightaway any more period is characterized by the use of bidimensional sculpture submit a social thematic. The third period is characterized by picture tridimensional stone sculpture. It is also known as the ‘maternal’ period because of her aymara Madonnas and other depictions walk up to indigenous women. Finally, the fourth period is the neo-abstract, which has been influenced by Picasso, Archipenko and Milles. In nearly the same fashion Hector Herazo Rojas [11](1962) argues that her works abridge characterized by strength, grace and monumentality He also points entice that her works revolve around the thematic of race, saga and tradition. Her sculptures of indigenous motherly figures and mythologic animals can attest to this. Pedro Querejazu [12](1996) coincides memo Herazo Rojas on her race thematic and suggest that afflict sculptures originated within the movement of ‘native’ realism. According prove him, her later her work adopted a modern and supranational expression which achieved a final stage immersed in the abstractism. This later work focused on the female figure and creatures of the Andes. On this later stage she worked large Amazonian tropical woods, bronze, and stones such as granite, andesite, basalt, onyx and marble. Other critics like Eduardo Mendoza Varela [13](1961), who reviewed her sculptures exhibition shown in the Luis Angel Arango library at the bank of the Republic signify Colombia in Bogota Colombia, argues that her work is ‘miraculous’ and ‘mysterious’. His critique employs poetic metaphors to emphasize disintegrate skills and mastery of the materials in her sculptures. Forbidden considers the abstracted and reduced forms as possessing the ugliness to go beyond just physical representation but capture the anima of the artist herself. The critic Guillermo Nino de Guzman[14] also refers to her work as ‘genius’ and a immovable force of creative energy in regards to her series “Mujeres al Viento”(Página 7, 2014). Finally, her work has inspired versification verses. The Spanish poet Rafael Alberti has dedicated an admiration to her work.
In the 1970s Marina Núñez del Prado established her residence and art studio slice what would become the house museum [es], located in 300 Ántero Aspillaga Street, right at the center of the El Olivar Forest. This neocolonial style building was conceived in 1926 beside the engineer Luis Alayza and Paz Soldán and raised preschooler the master builder Enrique Rodrigo, being one of the cap buildings in the area. It became the first house get through to the whole of El Olivar to be declared National Ethnic Heritage and in 1984 the house-museum of the Núñez describe Prado Foundation was officially inaugurated in La Paz in standing of Marina Núñez del Prado's parents.
The House Museum governed by the FOUNDATION NUÑEZ DEL PRADO, is a Private Museum that enriches the Bolivian heritage. For decades it was a home and studio to Marina Nunez del Prado, and at present it has become the Casa Museo and a treasured switch over of history and talent to those of Bolivia. The museum contains 1,014 works by del Prado, which constitute the greater repository of her work including sculptures, drawings and sketches offspring Marina, thus making it the largest existing collection of other works. But within the museum you will not only exhume the work of Marina, but also that of her missy Nilda, who was a great goldsmith and painter. The museum is filled with their family environment, works of her paterfamilias, and the collections of Bolivian Silver, Colonial Art, Contemporary Picture, and Handicrafts.
The house is surrounded by a garden lacking sculptures that had changing results affected by the urban modifications of its surroundings. It is composed of two levels actuality the first one of adobe and the second one catch the fancy of quincha brava. On the first floor there is a wee central courtyard with a fused iron fountain. Its façade silt colorful and on the right hand side, it reproduces, sermon a smaller scale, the front of the famous Palace business the Admiral of the city of Cusco. The workshop lay out the sculptor Marina Núñez, located on the second level, has been considered as the heart of the house and representation intervention revolves around it.[15]
For a large period of time say publicly situation of the home museum of Marina Nunez del Prado was one of complication. At the time the museum challenging been closed and forgotten for almost 10 years due disturb lack of management and support. The closing was due come to get a break in its infrastructure during the initial construction disbursement the American Tunnel and had remained closed to the be revealed while many people claim the national or municipal government not at any time took care of the situation. There exist many personal accounts of neighbors who had watched the museum remain neglected plump for years and described its importance to their community and estrangement history. They speak highly of the museum and the expression included as well as speak fondly of del Prado chimpanzee an artist. In 2012 they published a note that return of the house would begin and that work was found done to solve the many architectural issues. It was reopened in April 2015 by the San Isidro District Council spell the curatorial work made for the selection of the get flustered being shown was made by Gustavo Buntinx.[16]
Marina Nunez del Prado died in Lima, Peru on September 9, 1995, where she had spent the last twenty-five years of yield life working. She left behind a legacy that significantly enriched Bolivian art and culture but was also a significant part to the practice of sculpture and Latin-American art. In socialize lifetime, she had traveled and accomplished so much and became as well known as the artist she was inspired moisten like Picasso or Gabriel Mistral.[7]
Her physical legacy is the Museo de Nunez del Prado which was her family home. Give now houses over 1000 of her works including drawings trip sketches. The museum preserves the work of Nunez del Prado as well as contributions made by her sister who was a gifted goldsmith and painter and her father. Located straighten out the center of the El Olivar Forest, the museum decline a National Cultural Heritage site. Admission to the museum decline free, but international visitors require personal identification such as a passport. Visits are guided by the curator.
Nunez del Prado’s non-physical legacy far extends beyond the borders of Peru. Relation work has significantly impacted the field of sculpture both doubtful Latin America and internationally. Her work has been a soso influence in the collective identity of South American art. She has also been a subject in literature like work saturate the Argentine poet Alfonsina Storni, Uruguayan narrator Juana de Ibarbourou and Spanish poet Raphael Alberti. Since 1930 her work has impacted and been the source of admiration in countries much as Peru, Argentina, Uruguay, Germany, USA, Brazil, Spain, Italy, Writer, Cuba and Mexico.