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Alejandra Pérez
Alejandra Pérez
@alejandraperezart.bsky.social
2 months ago
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Sketch dump.
Visit to #MuseoNacionaldeColombia follows by
#drawingclub in Parkway and then other plein air and live drawing sketches.

#gouachesketching #acrylicmarkers #digitalsketches #pensketches #pleinairpainting #livedrawing

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Andres Velandia
Andres Velandia
@culturacafre.bsky.social
8 months ago
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#AlguienMeHablóDelMuseo No. 16A: #IIEncuentroDeProgramasDeFormaciónEnMuseos. Con la presencia del #MAMBO #MuseoDelVidrioDeBogotá #MuseoColonialYSantaClara #MuseoDeHistoriaNaturalDeLaUN #Maloka y el #MuseoNacionalDeColombia. Auditorio lleno, grandes visiones y perspectivas y el #CorazónFeliz.

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Michael
Michael
@mdstamper.bsky.social
8 months ago
Ricardo Acevedo Bernal was a Colombian portrait painter, composer, and photographer who achieved recognition and success in his home country at an early age. After a four-year stay in New York City studying from legends like William Merritt-Chase, Bernal returned to Bogotá and painted this delightful moment of a young woman on a building column in 1894. It's a domestic scene that evokes the memory of an everyday environment in a Bogotá tenement, reflected in the details surrounding the composition, such as the chamomile flowers growing in the clay pots. In this oil painting, Acevedo Bernal manages to convey feelings of affection and warmth through the playful attitude of the girl, who is holding onto the column, a figure accentuated by the effective use of color that reflects the light. Thus, the painting shows one of the many skills of Bernal to convey and emphasize the "nature" of content, via a mastery of light that he likely practiced with his American teacher Merritt-Chase. The painting depicts a young teen, standing in what appears to be an enclosed courtyard. She is barefoot and wears a simple outfit: a light brown cardigan with darker reddish-brown cuffs. Underneath, she wears a beige, full-length skirt that falls to her knees. Her dark brown hair is loosely arranged, cascading down her shoulders. Her gaze is directed towards us with a mix of shyness and mischief. She leans away from a thick, weathered bluish-grey vertical wooden support beam. Her hands grip the column, her posture suggesting a moment of playfulness. The courtyard is bathed in soft, warm sunlight. The floor is paved with large, rectangular tiles. In the background, we see several potted plants in terracotta pots, suggesting a tranquil space. The muted background tones of warm browns and faded blues behind the girl and the plants highlight and focus attention on the young woman.

Ricardo Acevedo Bernal was a Colombian portrait painter, composer, and photographer who achieved recognition and success in his home country at an early age. After a four-year stay in New York City studying from legends like William Merritt-Chase, Bernal returned to Bogotá and painted this delightful moment of a young woman on a building column in 1894. It's a domestic scene that evokes the memory of an everyday environment in a Bogotá tenement, reflected in the details surrounding the composition, such as the chamomile flowers growing in the clay pots. In this oil painting, Acevedo Bernal manages to convey feelings of affection and warmth through the playful attitude of the girl, who is holding onto the column, a figure accentuated by the effective use of color that reflects the light. Thus, the painting shows one of the many skills of Bernal to convey and emphasize the "nature" of content, via a mastery of light that he likely practiced with his American teacher Merritt-Chase. The painting depicts a young teen, standing in what appears to be an enclosed courtyard. She is barefoot and wears a simple outfit: a light brown cardigan with darker reddish-brown cuffs. Underneath, she wears a beige, full-length skirt that falls to her knees. Her dark brown hair is loosely arranged, cascading down her shoulders. Her gaze is directed towards us with a mix of shyness and mischief. She leans away from a thick, weathered bluish-grey vertical wooden support beam. Her hands grip the column, her posture suggesting a moment of playfulness. The courtyard is bathed in soft, warm sunlight. The floor is paved with large, rectangular tiles. In the background, we see several potted plants in terracotta pots, suggesting a tranquil space. The muted background tones of warm browns and faded blues behind the girl and the plants highlight and focus attention on the young woman.

La niña de la columna (The Girl of the Column) by Ricardo Acevedo Bernal (Colombian) - Oil on Canvas / 1894 - Museo Nacional de Colombia (Bogotá) #WomenInArt #art #BlueskyArt #ArtText #artwork #RicardoAcevedoBernal #Bernal #MuseoNacionaldeColombia #NationalMuseumofColombia #PortraitofaGirl #youth

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Andres Velandia
Andres Velandia
@culturacafre.bsky.social
10 months ago
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#AlguienMeHablóDelMuseo No. 08: Sobre Historia del #MuseoNacionaldeColombia (MNC). #DeMarlon: Inicio como lote franciscano, pasando a cárcel y terminando en sede del MNC. #DeOscar: La importancia de las directoras del MNC para su establecimiento, crecimiento y desarrollo: #TeresaCuervo y #EmmaAraújo

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Michael
Michael
@mdstamper.bsky.social
11 months ago
"La mulata Cartagenera" is a stunning portrait by Colombian artist Enrique Grau Araújo. It depicts a beautiful young woman from the Caribbean city of Cartagena, showcasing her striking features and colorful clothing. The painting is noted by some to capture the essence of Colombian culture and celebrate the beauty and diversity of its people — and hailed as a significant work in the history of Caribbean art. An unidentified young woman of color, in repose, with her dark hair braided in short rows and dressed in a simple sheer white dress reclines against a backdrop of tropicalia. The painting's composition and the way it portrays the subject have been interpreted as exploring themes of national identity, race, and colonialism. The painting’s title uses the "mulata" term common at the time for a person of mixed European and African descent and her heritage from Cartagena, Colombia is reinforced by tropical elements, which contribute to the overall atmosphere of a Caribbean setting. The painting has been interpreted through various lenses, including: race and national identity within the context of colonialism; beauty and representation that challenges traditional notions of beauty and represent persons of mixed heritage in a unique nuanced way; and class or social status by the setting and the woman's attire connecting to both European traditions and the local culture. The painting was exhibited at the First Annual Salon of Colombian Artists (Primer Salón Nacional) in 1940 and was a popular success earning the young artist born in Cartagena de Indias an honorable mention award including a Colombian government fellowship to study at the Art Students League of New York. In both New York and Florence during the 1950s and 1960s, Grau produced work representative of Modern art in Colombia. While living in New York in the 1980s, he began to produce sculpture, the last artistic language he would explore in his long career.

"La mulata Cartagenera" is a stunning portrait by Colombian artist Enrique Grau Araújo. It depicts a beautiful young woman from the Caribbean city of Cartagena, showcasing her striking features and colorful clothing. The painting is noted by some to capture the essence of Colombian culture and celebrate the beauty and diversity of its people — and hailed as a significant work in the history of Caribbean art. An unidentified young woman of color, in repose, with her dark hair braided in short rows and dressed in a simple sheer white dress reclines against a backdrop of tropicalia. The painting's composition and the way it portrays the subject have been interpreted as exploring themes of national identity, race, and colonialism. The painting’s title uses the "mulata" term common at the time for a person of mixed European and African descent and her heritage from Cartagena, Colombia is reinforced by tropical elements, which contribute to the overall atmosphere of a Caribbean setting. The painting has been interpreted through various lenses, including: race and national identity within the context of colonialism; beauty and representation that challenges traditional notions of beauty and represent persons of mixed heritage in a unique nuanced way; and class or social status by the setting and the woman's attire connecting to both European traditions and the local culture. The painting was exhibited at the First Annual Salon of Colombian Artists (Primer Salón Nacional) in 1940 and was a popular success earning the young artist born in Cartagena de Indias an honorable mention award including a Colombian government fellowship to study at the Art Students League of New York. In both New York and Florence during the 1950s and 1960s, Grau produced work representative of Modern art in Colombia. While living in New York in the 1980s, he began to produce sculpture, the last artistic language he would explore in his long career.

Mulata Cartagena by Enrique Grau Araújo (Colombian) - Oil on canvas / 1940 - Museo Nacional de Colombia (Bogotá) #womeninart #art #oilpainting #portraitofawoman #pintura #womensart #artwork #fineart #ColombianArtist #ColombianArt #beauty #EnriqueGrauAraújo #EnriqueGrau #Grau #MuseoNacionaldeColombia

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