Are the drawings of Fernado Botero "notes" for future works? Or, as Marc Fumaroli states in this book, something different which has a goal in and of itself?
Whether choosing one or the other theory, Botero's drawings strive to regain possession of an artistic ideal which leads not so much to the finding of the evident complexity of his paintings and sculpture but rather to an approach to the problems of concept and structure in the "Boterian" world.
When these "notes" or sketches reappear in canvas or bronze, they allow a glance into the gestation of Botero's work, peeping into the intimate knowledge of his craft which has been acquired through his creative process. But, when the sketch remains there, on paper, it suddenly finds its true calling, its own "place in the world" and it is no longer necessary for it to be projected into another future work. That is why these drawings have the charm of what has been made to last as it is, in a state of grace, or in a sort of transition towards a painting.
There is no lost experience for the artist. His drawings, as well as the magnificent gallery of portraits which make up this book, testify to it. Drawings by Botero is, not only an exact expression of his aesthetics, but also a study of his figures and an inner reflection of his pictorial world, through the lessons taught by the virtuosity displayed in handling line contouring and proportions.
Giving material form in a world far removed from the transitional, the series of drawings includes portraits--half real, half imaginary--or personages to whom Botero has given ironic, critical or tender lives in that world of his that has become dear to us: the bishop, the acolyte, the bullfighter, the lovers...the gallery is endless.
As it is, critical recognition of drawing limits itself to the mere credit of its usefulness as preliminary sketching in the case of many artists. In Botero's work, however, it is related to the ability to escalate towards another artistic dimension, that which implies making vital statements and decisions within the process of creating a work of art.
Whether choosing one or the other theory, Botero's drawings strive to regain possession of an artistic ideal which leads not so much to the finding of the evident complexity of his paintings and sculpture but rather to an approach to the problems of concept and structure in the "Boterian" world.
When these "notes" or sketches reappear in canvas or bronze, they allow a glance into the gestation of Botero's work, peeping into the intimate knowledge of his craft which has been acquired through his creative process. But, when the sketch remains there, on paper, it suddenly finds its true calling, its own "place in the world" and it is no longer necessary for it to be projected into another future work. That is why these drawings have the charm of what has been made to last as it is, in a state of grace, or in a sort of transition towards a painting.
There is no lost experience for the artist. His drawings, as well as the magnificent gallery of portraits which make up this book, testify to it. Drawings by Botero is, not only an exact expression of his aesthetics, but also a study of his figures and an inner reflection of his pictorial world, through the lessons taught by the virtuosity displayed in handling line contouring and proportions.
Giving material form in a world far removed from the transitional, the series of drawings includes portraits--half real, half imaginary--or personages to whom Botero has given ironic, critical or tender lives in that world of his that has become dear to us: the bishop, the acolyte, the bullfighter, the lovers...the gallery is endless.
As it is, critical recognition of drawing limits itself to the mere credit of its usefulness as preliminary sketching in the case of many artists. In Botero's work, however, it is related to the ability to escalate towards another artistic dimension, that which implies making vital statements and decisions within the process of creating a work of art.
