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photographer to take their portrait before jumping off the dam of the Sisga on the outskirts of Bogotá. The couple were two young farmers who were deeply in love, but in an effort to preserve the purity of their love, the man (who was suspected to be mentally insane) convinced his girlfriend to commit suicide as a way to show their religious devotion in not wanting to sully the woman's purity. The picture was sent to their families, and when the news broke it was widely reprinted in black and white in the local newspapers. González claimed that she was attracted to this picture due to its "bad quality" or more so its plain quality, the simplification of the facial features that were almost deformed by the discrepancy. This painting was the first of a number of paintings done by González in the 1960s in which she explored the intense violence in
Colombia. During this time she produced a series of ink drawings on the same theme, that were tabloid photos of crimes of passion and political murders as well as advertisements for everything from bodybuilding to headache cures.
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thieves. This work along with many of the others out of her furniture works had the intention of being a "representation of representations" not only through an effort to make universal art, but also to subvert the original function of the furniture itself. In this case, she intentionally takes all of the shadows and duller colors that made this work more
European, and animated it more in hopes of making it more uniquely Latin American.
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and history paintings, or pictures from the present day news media, transferring these images onto cheap nightstands, chairs, coffee tables and beds painted by an amateur painter. She carefully coordinated her images with the furniture's function, such as painting the popes face on nightstands, conjuring up devotional images commonly found over beds or on nightstands in the average
Colombian household.
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if she had at any point considered herself a pop artist she responded with, "I’ve always considered myself more of a painter and within this remit I painted the joy of the underdeveloped. For me the type of art that I was doing could only circulate internationally as a curiosity. Mine was a provincial type of art without horizons, confronting the everyday: art is international."
205:, the painting was based on a picture of a young couple that had been published in a local newspaper after they jumped off the dam of the river Sisga in order to preserve the purity of their love. This work was initially refused at the 1965 Salon of Colombian Artists, disregarded and brushed off by the Jury as a "bad Botero". After one of González's friends and mentors,
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This work consisted of an image of a mother holding her child that was based on a picture that was widely printed and distributed by a printing company in
Colombia. The painting was painted on a sheet of metal that was then mounted on the inside of a crib that González found in the streets of Bogóta
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After accompanying her husband who is an architect to a hardware store in the 1970s, she began her work on various pieces of store-bought furniture that would generally be found in middle-class households earlier in the century. Typically she would take her images from well known
Italian Renaissance
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where the mirror would be on a very large and elaborate antique coat rack. She used the location of the would be mirror to frame her work so when the viewers look at the work they see an image of beauty recreated in a cheap, reproduced style. The long title of the work is in an additional effort to
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Although González is often referred to as an artist of the pop art movement, she has never considered herself a pop artist. She often thought that the pop movement was not present in her preferred medium of painting and that it wouldn't be an appropriate label for the work she was doing. When asked
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work that had been repainted onto metal sheets that were then mounted on a faux-wood dining table. González intentionally chose this particular work by
Leonardo because of its popularity in Colombian culture, this image was commonly placed above the main entrance door as a good-luck charm against
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One of González's most well known and earliest works depicts a young couple standing holding hands with one other and a bouquet of flowers with a slight smile on their faces. This painting was based on a photo that originally appeared in the press of a couple who commissioned a professional
167:, Colombia in 1932. She is the youngest daughter of ValentĂn González Rangel and Clementina Aranda Mantilla. In the late 1950s, she enrolled in architecture school, but she dropped out only a few years later. She returned to Bucaramanga in 1958. González ended up enrolling in
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in an attempt to try to president, they left 94 dead. Feeling that she couldn't laugh after that event, she began to explore themes of death and the drug trade as well as exploring some of
Colombia's most tragic events.
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She has oftentimes been acknowledged for being a woman in a movement and country where a great deal of her peers were men, according to González, this has never been a problem for her and credits
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that originally belonged to a hospital. The theme of mother and child was one that commonly occurred in her artwork thus turning González herself into an image of maternity.
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pressed the Jury to reconsider their decision, the painting was not only accepted, but Gonzáles won a special prize for her work, that eventually helped launch her career.
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Beatriz González: What an Honor to be with You at this
Historic Moment : Works, 1965-1997 : May 29, 1998/October 31, 1998, El Museo Del Barrio, New York City
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In 1985 González's work took a dramatic stylistic shift from its vibrant colors and shapes, to more dark imagery. This was after the M-19 guerrilla attack on the
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for encouraging the presence of woman in the
Colombian art scene and states that she doesn't believe in the complex of the female artist who must be victimized.
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González grew up in
Colombia during the 1940s and 50s, while the country was plagued with violence and war due to the social and political upheaval known as
247:, the solo exhibition comprehended six decades of artistic practice, presenting nearly 150 artworks from the 1960s to the present time that commented on
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236:) wearing Native Amazonian headdresses next to a Native Amazonian, many interpreted it as a portrayal of their inefficiency as presidents.
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182:. Growing up during this time largely influenced González's understanding of Colombia society, and eventually even her artistic style.
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movement. She is best known for her bright and colorful paintings depicting life in Colombia during the war-torn period known as
171:, graduating from their fine arts department in 1962. While there, she was a student of Argentine art critic and historian
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I was born in Florence and was 26 years old when my portrait was painted (this phrase pronounced in a low, sweet voice).
478:. González, Beatriz, 1938-, Sierra, Alberto Enrique, 1958-, Valencia, Mary Jane. (Primera ediciĂłn ed.). MedellĂn.
147:(born 1932) is a Colombian painter, sculptor, critic, curator and art historian. González is often associated with the
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NacĂ en Florencia y tenĂa 26 años cuando fue pintado mi retrato (esta frase pronunciada en una voz dulce y baja)
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This work was one of González's first furniture pieces out of her series of furniture works. It consisted of
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What an Honor to Be With You at This Historic Moment, Works 1965-1997, 1998, El Museo del Barrio
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presented the first career retrospective of González's work in the United States. Titled
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Museo de Arte Moderno. MedellĂn-Colombia (2015). «La polĂtica de Beatriz González».
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Beatriz González : la comedia y la tragedia : retrospectiva 1948-2010
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González, B.; de León, C.P.; Museo del Barrio (New York, N.Y.) (1998).
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The Suicides of Sisga I, II and III, La Ăšltima Mesa, NacĂ en Florencia
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668:"ART REVIEW; A Wry Defiance Behind Garish Colors and Tabloid Dramas"
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Beatriz González. La Comedia y la Tragedia. Retrospectiva 1948-2010
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Transmissions: Art in Eastern Europe and Latin America 1960-1980,
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reveal its humorous and a potentially slightly erotic intent.
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Morgan, J.; Frigeri, F.; Coustou, E.; Dzuveroric, L. (2015).
345:, March 23–September 19, 2011, Museum of Modern Art, New York
816:"Beatriz González: A Retrospective • Pérez Art Museum Miami"
643:"Beatriz González: A Retrospective • Pérez Art Museum Miami"
446:"Meet Beatriz Gonzalez, Colombia's Queen of Pop Art | Amuse"
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I Am Still Alive: Everyday Life in Contemporary Drawing
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documenta 14, Athens, Greece and Kassel, Germany, 2017
474:Museo de Arte Moderno (MedellĂn, Colombia) (2011).
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302:In this work, González placed her own painting of
865:"'Interior Decoration', Beatriz González, 1981"
583:. University of Texas Press. pp. 282–283.
224:When she painted three Colombian presidents (
201:In 1965 González created a painting entitled
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579:Barnitz, Jacqueline; Frank, Patrick (2015).
553:"Artist interview: Beatriz González | Tate"
506:: CS1 maint: location missing publisher (
290:NacĂ en Florencia (I was born in Florence)
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958:University of Los Andes (Colombia) alumni
715:"Beatriz González. Lullaby. 1970 | MoMA"
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175:and Spanish painter Joan Antonio Roda.
581:Twentieth-Century Art of Latin America
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409:. Yale University Press. p. 195.
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841:"Beatriz González: A Retrospective"
264:The Suicides of Sisga I, II and III
79:Rijksakademie van beeldende kunsten
839:perezartmuseummiami (2019-04-22).
598:. Paris: Flammarion. p. 116.
169:University of Los Andes (Colombia)
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352:Beatriz González: A Retrospective
245:Beatriz González: A Retrospective
255:and Latin American feminism.
294:The full title of this work is
273:La Ăşltima mesa (The Last Table)
666:Cotter, Holland (1998-09-04).
596:The Trouble With Women Artists
444:Loiseau, Benoît (2016-11-02).
339:Museum of Modern Art, New York
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699:RamĂrez, Mari Carmen (2004).
163:Beatriz González was born in
968:21st-century Colombian women
963:20th-century Colombian women
703:. Houston: Yale University.
251:artistic movements such as
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948:Colombian women sculptors
523:"Beatriz González | Tate"
318:CanciĂłn de cuna (Lullaby)
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978:Colombian women curators
943:Colombian women painters
771:The Museum of Modern Art
719:The Museum of Modern Art
373:Tate Americas Foundation
226:Julio CĂ©sar Turbay Ayala
953:People from Bucaramanga
895:. De Pont Museum. 2021.
74:University of Los Andes
820:PĂ©rez Art Museum Miami
647:PĂ©rez Art Museum Miami
369:PĂ©rez Art Museum Miami
356:PĂ©rez Art Museum Miami
241:PĂ©rez Art Museum Miami
230:Carlos Lleras Restrepo
744:. El Museo del Barrio
203:The Suicides of Sisga
928:Women art historians
594:Ader, Laura (2019).
377:Museum of Modern Art
918:Colombian sculptors
259:Individual artworks
913:Colombian painters
893:"Beatriz González"
879:"Beatriz González"
796:www.documenta14.de
792:"Beatriz González"
767:"Beatriz González"
672:The New York Times
622:. Ediciones MAMM.
406:The World Goes Pop
234:Belisario Betancur
845:pammportraits.org
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629:978-958-57175-0-3
605:978-2-08-020370-0
416:978-0-300-21699-8
279:Leonardo da Vinci
218:Palace of Justice
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48:November 16, 1932
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180:La Violencia
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89:Notable work
933:1938 births
776:January 13,
363:Collections
328:Exhibitions
283:Last Supper
207:Marta Traba
196:Marta Traba
173:Marta Traba
165:Bucaramanga
110:Occupations
55:Bucaramanga
907:Categories
850:2023-03-07
825:2023-03-07
801:2019-03-23
748:13 January
724:2017-12-06
685:2017-12-04
652:2023-09-08
562:2017-12-01
532:2017-11-17
494:1055036373
455:2017-11-15
422:13 January
390:References
379:, New York
128:art critic
61:, Colombia
44:1932-11-16
680:0362-4331
502:cite book
385:, Tilburg
309:Mona Lisa
159:Biography
59:Santander
304:da Vinci
122:engraver
116:Sculptor
98:Movement
881:. MoMA.
867:. Tate.
358:, 2019.
253:Pop Art
249:Postwar
149:Pop Art
119:painter
101:Pop Art
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551:Tate.
521:Tate.
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232:, and
186:Career
450:Amuse
778:2018
750:2018
676:ISSN
625:ISBN
600:ISBN
557:Tate
527:Tate
508:link
490:OCLC
480:ISBN
424:2018
411:ISBN
38:Born
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