Vikipediya

Pedro Figari

Pedro Figari (1861-yil 29-iyun - 1938-yil 24-iyul) urugvaylik rassom, huquqshunos, yozuvchi va siyosatchi edi. Garchi u o'zining keyingi yillarigacha amaliyotni boshlamagan bo'lsa-da, u o'z ishida hayotning kundalik tomonlarini aks ettirishga urg'u bergan ilk modernist rassom sifatida tanilgan. Ko'pgina asarlarida u bolaligida kuzatgan mahalliy urf -odatlarni chizish orqali o'z uyining mohiyatini aks ettirishga harakat qiladi.

  • Venecia (óleo s/cartón) - Venice (oil on cardboard) - 35x50cm [1]
    Venecia (óleo s/cartón) - Venice (oil on cardboard) - 35x50cm [1]
  • Bailecito (óleo s/cartón) - Just a Dance (oil on cardboard) - 33x40cm [2]
    Bailecito (óleo s/cartón) - Just a Dance (oil on cardboard) - 33x40cm [2]
  • La Muerte (óleo s/cartón) - Death (oil on cardboard) - 60x80cm [3]
    La Muerte (óleo s/cartón) - Death (oil on cardboard) - 60x80cm [3]
  • Flores silvestres (óleo s/cartón) - Wild flowers (oil on cardboard) - 53.5x68.5 cm [4]
    Flores silvestres (óleo s/cartón) - Wild flowers (oil on cardboard) - 53.5x68.5 cm [4]
  • Mirá, Genoveva (óleo s/cartón) - Look, Genoveva (oil on cardboard) - 30x33.5 cm [5]
    Mirá, Genoveva (óleo s/cartón) - Look, Genoveva (oil on cardboard) - 30x33.5 cm [5]
  • Pericón (óleo s/cartón) - (a creole dance) (oil on cardboard) - 70x100 [6]
    Pericón (óleo s/cartón) - (a creole dance) (oil on cardboard) - 70x100 [6]
  • El homenaje (óleo s/cartón) - The homage (oil on cardboard) - 60x80cm [7]
    El homenaje (óleo s/cartón) - The homage (oil on cardboard) - 60x80cm [7]
  • Visita pesada (óleo s/cartón) - Cumbersome Visit (oil on cardboard) - 48x63cm [8]
    Visita pesada (óleo s/cartón) - Cumbersome Visit (oil on cardboard) - 48x63cm [8]
  • Las siete hermanas (óleo s/cartón) - The Seven Sisters (oil on cardboard)50x70cm [9]
    Las siete hermanas (óleo s/cartón) - The Seven Sisters (oil on cardboard)50x70cm [9]
  • Mientras la bocha rueda (óleos/cartón) While the Bowl Rolls (oil on cardboard) - 26x50cm [10]
    Mientras la bocha rueda (óleos/cartón) While the Bowl Rolls (oil on cardboard) - 26x50cm [10]
  • Candombe (óleo s/cartón) (oil on cardboard) 53x68cm [11]
    Candombe (óleo s/cartón) (oil on cardboard) 53x68cm [11]
  • Un pedido a Rosas (óleo s/cartón) - A Request to Rosas (oil on cardboard) - 49x69cm [12]
    Un pedido a Rosas (óleo s/cartón) - A Request to Rosas (oil on cardboard) - 49x69cm [12]
  • Doble boda (óleo s/cartón) - Double Wedding (oil on cardboard) - 79x98cm [13]
    Doble boda (óleo s/cartón) - Double Wedding (oil on cardboard) - 79x98cm [13]
  • La carreta (óleo s/cartón) - The Oxcart (oil on cardboard) - 40x70cm [14]
    La carreta (óleo s/cartón) - The Oxcart (oil on cardboard) - 40x70cm [14]
  • Galantería (óleo s/cartón) - Gallantry (oil on cardboard) - 16.5x25.5 cm [15]
    Galantería (óleo s/cartón) - Gallantry (oil on cardboard) - 16.5x25.5 cm [15]
  • Recogiendo un pasajero (óleo s/cartón) Picking up a passenger - (oil on cardboard) [16]
    Recogiendo un pasajero (óleo s/cartón) Picking up a passenger - (oil on cardboard) [16]
Pedro Figari

Haqiqiy ismiPedro Figari Solari
Tavalludi June 29, 1861
Vafoti July 24, 1938 
(aged 77)
Montevideo
Millati Uruguayan
Sohasi lawyer, writer, politician, educator and artist
Oqim Impressionism

Figari asosan xotiradan chizgan, bu texnika uning ishiga ko'proq shaxsiy tuyg'u beradi. Illyuziya yaratish niyatisiz rasm chizishni o'z ichiga olgan o'ziga xos uslubi bilan u Diego Rivera va Tarsila do Amaral kabi boshqa taniqli Lotin-Amerika rassomlari bilan birgalikda Lotin Amerikasi san'at olamida o'ziga xoslik inqilobini keltirib chiqardi.

Hayot va mashg'ulot

tahrir

Pedro Figari 1861-yilda tug'ilgan. Garchi u bolaligida san'atga qiziqqan bo'lsa-da, umrining ko'p qismini advokatlik amaliyotiga bag'ishlagan. 1886-yilda u huquqshunoslik darajasini oldi. Uning kambag'allar uchun himoyachi sifatidagi mavqei uni keyinchalik san'atiga ta'sir qilgan ko'plab ijtimoiy muammolarga duchor qildi. Ilmiy darajani olgan yili Figari akademik malakali italyan rassomi Godofredo Sommavilla qo'lida tahsil oldi, turmushga chiqdi va Fransiyaga ketadi. Aynan o'sha yerda u post-impressionizmga duch keldi, bu ham uning san'atiga katta ta'sir ko'rsatdi. "Urugvayga qaytgach, u jurnalistika, huquq va siyosat bilan faol ishtirok etdi. Shuningdek, Escuela de Bellas Artesning yaratilishiga yordam berdi.

Garchi odamlar Figari o'zining keyingi hayotigacha rasm chizishni boshlamaganligini takrorlashsa ham, u har doim ma'lum darajada rasm chizgan. Uning dastlabki rasmlari "qattiq akvarel va yog'li eskizlar akademik joziba Manet va Degasning ichki yaqinligi" edi[1].

Faqat 1921-yilda, 60 yoshida Figari o'zini butunlay rasm chizishga bag'ishladi. U Buenos-Ayresga ko'chib o'tdi va o'z faoliyatida ilgari qabul qilgan italyancha uslubni ortda qoldirdi. Bu yerda u "ranglar aranjirovkasi sifatida majoziy kompozitsiyalarni yaratdi. Urugvay sahnasini hujjatlashtirish o'rniga rekonstruksiya qildi. Geografiya, gaucho hayoti, bayramlari, ramziy marosimlari va mahalliy qora tanlilarning karnavallari[2]. 1925-yilda Parijga qaytib kelganida, u ushbu mavzuni xotiradan chizishni davom ettirdi. Bu esa unga rassom sifatida tan olindi[2] Uning ishi, shuningdek, 1932-yilgi yozgi Olimpiya o'yinlaridagi san'at tanlovining bir qismi edi[3].

Style

tahrir

Pedro Figarining o'ziga xos uslubi borligi aniq. Faoliyatining boshida u italyan san'atidan qattiq ta'sirlangan bo'lsa-da, u jiddiy rasm chizishni boshlaganida, u yanada sodda uslub bilan bog'lanishga muvaffaq bo'ldi.

Figari Janubiy Amerikadagi san'at jamoatchiligi a'zolari o'zlarining shaxsiy uslublarini topish uchun kurashayotgan davrda rasm chizgan. Asosan, ular o'z uslublarini evropaliklarnikidan ajratishni xohlashdi. Ko'pincha o'tmishdagi rasmlarda o'ta shaxssiz sahnalar tasvirlangan; Ular asosan tarixiy voqealar yoki shaxslar edi. Yevropa rasmlari "texnika sifati, sof plastik qadriyatlarga e'tibor va [va] fantaziya" ni ta'kidladi. [4] Figari bu odatiy Yevropa uslubidan voz kechib, o'ziga xos va yangi narsalarni yaratgan birinchi rassomlardan biri sifatida qayd etilgan. U "Yevropa tsivilizatsiyasi uyg'un va oddiy hayotni yo'qotishga olib keldi, deb hisobladi, Amerika esa asliyatga qaytish imkoniyatini taklif qildi". [5] Uning kelib chiqishiga qaytishni afzal ko'rishi uning rasmlarining haqiqiy vizual uslubini aks ettiradi. Figari ob'ektlarni to'g'ri va ma'lumotli bo'yash o'rniga, ma'lum bir lahzaning mohiyati va hissiyotini qo'lga kiritish niyatida chizgan. U o'zi aytadi: "Mening rasmim shunchaki rasm chizish usuli emas. Aksincha, bu ko'rish, fikrlash, his qilish usuli. Tasviriy texnikani to'liq o'zlashtirmasdan oldin ham narsalarni emas, balki hissiyotlarni bo'yashimga hayronman." U mexanik jihatdan aniqlangan narsalarni bo'yash g'oyasini rad etadi, aksincha, energiya va hayotga urg'u beradi. Bu sodda uslub deb hisoblanadi: "Unga ona Urugvaydagi burjuaziyaning ijtimoiy konventsiyalarini qandaydir beg'uborlik bilan karikatura qilish imkonini berdi". [6]

Relationship to artistic movements

tahrir

During his travels in Europe, Pedro Figari was exposed to a large about of Post-Impressionist art. His own paintings showed early modernist traits, as they had an emphasis on flatness and the surface of the canvas. Modernist painting rejected the idea of creating an illusion on the canvas. Rather than focusing on the form and technique of the work, modernist painters brought attention to the content. Much like this, Figari's paintings highlighted the materials that were used. He did not paint with the intention to portray a subject realistically; He painted to capture the ideas a feeling behind a piece, and did this by using certain brush-strokes that were determined by what was appropriate for the part of the piece he was painting. Although something in his piece might academically be considered poorly drawn, it is more often than not far more expressive than the most accurate paintings of the Old Masters.

Meros

tahrir

The legacy of Pedro Figari is one of freedom and expression. By distancing himself from a common European style that permitted only academic traditions, he helped viewers learn to celebrate the culture of their country. He has said that he intended to "elevate Uruguayan culture and make people love the American things that are so very much their own." By creating his own style that embodied Uruguay, he bestowed upon the people of the country a sense of pride and love. They no longer felt obligated to adopt the customs of European countries. Instead, they immersed themselves in the history and roots of their own.

1995 yilda Figari mukofoti ta'sis etildi. Pedro Figari nomi bilan atalgan u har yili urugvaylik tasviriy rassomlarni tan olish uchun beriladi. 2010 yildan beri u Museo Figari [es] tomonidan boshqariladi, Montevideodagi muzey ham uning sharafiga nomlangan. [7]

Rasmlar galereyasi

tahrir
  •  
    Venecia (óleo s/cartón) - Venice (oil on cardboard) - 35x50cm [17]
  •  
    Bailecito (óleo s/cartón) - Just a Dance (oil on cardboard) - 33x40cm [18]
  •  
    La Muerte (óleo s/cartón) - Death (oil on cardboard) - 60x80cm [19]
  •  
    Flores silvestres (óleo s/cartón) - Wild flowers (oil on cardboard) - 53.5x68.5 cm [20]
  •  
    Mirá, Genoveva (óleo s/cartón) - Look, Genoveva (oil on cardboard) - 30x33.5 cm [21]
  •  
    Pericón (óleo s/cartón) - (a creole dance) (oil on cardboard) - 70x100 [22]
  •  
    El homenaje (óleo s/cartón) - The homage (oil on cardboard) - 60x80cm [23]
  •  
    Visita pesada (óleo s/cartón) - Cumbersome Visit (oil on cardboard) - 48x63cm [24]
  •  
    Las siete hermanas (óleo s/cartón) - The Seven Sisters (oil on cardboard)50x70cm [25]
  •  
    Mientras la bocha rueda (óleos/cartón) While the Bowl Rolls (oil on cardboard) - 26x50cm [26]
  •  
    Candombe (óleo s/cartón) (oil on cardboard) 53x68cm [27]
  •  
    Un pedido a Rosas (óleo s/cartón) - A Request to Rosas (oil on cardboard) - 49x69cm [28]
  •  
    Doble boda (óleo s/cartón) - Double Wedding (oil on cardboard) - 79x98cm [29]
  •  
    La carreta (óleo s/cartón) - The Oxcart (oil on cardboard) - 40x70cm [30]
  •  
    Galantería (óleo s/cartón) - Gallantry (oil on cardboard) - 16.5x25.5 cm [31]
  •  
    Recogiendo un pasajero (óleo s/cartón) Picking up a passenger - (oil on cardboard) [32]

Ko'rgazmalar ro'yxati

tahrir
  • Lotin Amerikasidagi rasmlar, 1998, Zamonaviy san'at muzeyi (Nyu-York)
  • Uzun bo'yli Pedro Figari, 1956 yil, Salto
  • Pedro Figari rasmlari, 1947, Tasviriy san'at muzeyi (Xyuston)
  • Turli xalqlar rassomlarining rasmlari va nashrlari, 1942, Tasviriy san'at muzeyi (Xyuston)
  • 20-asr Lotin Amerikasi rassomlari, 1993, Zamonaviy san'at muzeyi (Nyu-York)

San'at asarlari ro'yxati

tahrir
  • Candombe Bajo La Luna, 1922 (Alfredo Gonsales Garano kolleksiyasi)
  • Pericon En La Estancia, 1924 (Museo Nacional de Bellas Artes)
  • En Familia, 1924 (Andres Garmendia Uranga to'plami)
  • Perikon, 1925 (Roque Freire to'plami)
  • Del Entierro, 1928 (Alejandro Shou to'plami)
  • Kandomb, 1924 (Roque Freire to'plami)
  • Patio Colonial, 1924 (Raul C. Monsegur kolleksiyasi)
  • El Cielito Bajo El Monte, 1923 (Celina Gonsales Garano kolleksiyasi)
  • Entierro, 1921 (Museo Nacional de Bellas Artes)
  • La Pampa, 1927 (Museo Nacional de Bellas Artes)

Manbalar

tahrir
  1. ↑ Sanjurjo, Annick. "Pedro Figari (1861–1938)". Contemporary Latin American Artists: Exhibitions at the Organization of American States 1941–1964. Ed. Annick Sanjurjo. 1 vol. Maryland: Lanham, 1997.
  2. ↑ 2,0 2,1 Kalenberg, Angel. "Figari, Pedro". Encyclopedia of Latin American & Caribbean Art. Ed. Jane Turner. 1 vol. New York: New York, 2000.
  3. ↑ „Pedro Figari“. Olympedia. Qaraldi: 2020-yil 10-avgust.
  4. ↑ Szyszlo, Fernando de. "Contemporary Latin American Painting. A Brief Survey." College Art Journal 19 (1959–1960): 134–135.
  5. ↑ Haber, Alicia. "Vernacular Culture in Uruguayan Art: An Analysis of the Documentary Function of the Works of: Pedro Figari, Carlos Gonzalez and Luis Solari." Occasional Papers Series 2 (1982).
  6. ↑ Baddeley, Oriana, and Valerie Fraser. Drawing the Line: Art and Cultural Identity in Contemporary Latin America. New York: Verso, 1989.
  7. ↑ „Premio Figari“ (Spanish). Museo Figari. Qaraldi: 2017-yil 7-dekabr.
  • Baddeley, Oriana va Valeri Freyzer. Chiziqni chizish: Zamonaviy Lotin Amerikasida san'at va madaniy o'ziga xoslik. Nyu-York: Verso, 1989 yil.
  • Basaldua, Emilio. "Gektor Basaldua va Kolon teatri: o'ttiz yillik sahna dizayni". Dekorativ va tashviqot san'ati jurnali 18 (1992): 32-53.
  • Berndtson, Artur. "Ko'rib chiqish: La filosofia en el Uruguay en el siglo XX." Amerika 13.4 (1957): 424–427.
  • Kastilyo, Xorxe. "Uslubning rivojlanishi". XXIII San-Paolo xalqaro bienali . 8 dekabr, 1996 yil < https://web.archive.org/web/20080203073450/http://www1.uol.com.br/bienal/23bienal/especial/iefi.htm#Nome >.
  • Xabar, Alisiya. "Urugvay san'atida xalq madaniyati: Pedro Figari, Karlos Gonsales va Luis Solari asarlarining hujjatli funktsiyasini tahlil qilish." Vaqti-vaqti bilan 2-seriya (1982).
  • Kalenberg, Anxel. "Figari, Pedro". Lotin Amerikasi va Karib dengizi san'ati entsiklopediyasi . Ed. Jeyn Tyorner. 1 jild. Nyu-York: Nyu-York, 2000 yil.
  • Mak Lean, Karlos A. Errera. Pedro Figari . Buenos-Ayres: Poseidon tahririyati, 1943 yil.
  • Manli, Marianna. "Rasm va an'analar". Amerika san'at muzeyi . < https://web.archive.org/web/20070609021100/http://www.museum.oas.org/permanent/americanism/figari/writings_about.html#traditions >.
  • Sanjurjo, Annik. "Pedro Figari (1861-1938)". Zamonaviy Lotin Amerikasi rassomlari: Amerika Davlatlari Tashkilotidagi ko'rgazmalar 1941-1964 . Ed. Annik Sanjurjo. 1 jild. Merilend: Lanham, 1997 yil.
  • Shislo, Fernando de. "Zamonaviy Lotin Amerikasi rasm. Qisqa so'rov." Kollej san'ati jurnali 19 (1959–1960): 134–135.
tahrir 
"https://uz.wikipedia.org/w/index.php?title=Pedro_Figari&oldid=5238784" dan olindi