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Her interest in printed images and the search for a style of her own began in painting classes with Juan Antonio Roda: "I realized that I could not paint from natural models [...] although I was a good draughtswoman, I couldn’t paint in those colors, it seemed horrible to me [...] I found a poster of the Surrender of Breda and I copied it with a lot of turpentine, very watered down, and that was a success and that’s how I began." Shortly after graduating in 1963, she was chosen as one of the first young artists to have a solo exhibition at MAMBO, the Bogotá Museum of Modern Art, thanks to a program of the museum, organized by Marta Traba, dedicated to showing the work of new talent.
Her interest in printed images and the search for a style of her own began in painting classes with Juan Antonio Roda: "I realized that I could not paint from natural models [...] although I was a good draughtswoman, I couldn’t paint in those colors, it seemed horrible to me [...] I found a poster of the Surrender of Breda and I copied it with a lot of turpentine, very watered down, and that was a success and that’s how I began." Shortly after graduating in 1963, she was chosen as one of the first young artists to have a solo exhibition at MAMBO, the Bogotá Museum of Modern Art, thanks to a program of the museum, organized by Marta Traba, dedicated to showing the work of new talent.


La artista, empezó a preguntarse qué tan reales eran las reproducciones de los libros de arte, y de ahí nació su interés por las imperfecciones en las imágenes impresas. Cansada de realizar variaciones sobre Velázquez y Vermeer, encontró en el periódico la fotografía de los “Suicidas del Sisga”. En 1965 presentó la obra realizada a partir de ésta imagen al XVII Salón Nacional de Artistas. En un primer momento, la obra fue rechaza “porque algún miembro del jurado dijo que era un Botero malo”. Sin embargo, el fallo fue reconsiderado y la obra obtuvo el segundo premio especial del jurado. A partir de ese momento Beatriz González comenzó a interesarse por las tragedias locales a través de los medios y por materiales diferentes a los instrumentos clásicos de pintura: “un día me cansé del óleo, del lienzo, de materiales finos...”. Aunque la crítica se refirió constantemente a Beatriz González como una “artista pop”, ella siempre dejó claro que Warhol en esa época no le interesaba, prefería el expresionismo abstracto.
González began to wonder how real the reproductions in art books were, and from that her interest in the imperfections of the printed image was born. Tired of producing variations on Velázquez and Vermeer, she happened upon the photograph of the Sisga suicides in the newspaper. In 1965, she presented the painting derived from this image at the XVII National Artists’ Salon. The work was initially rejected "because a member of the jury said it was a bad Botero." However, the decision was reconsidered and the work ended up receiving the second special jury award. From that moment on, Beatriz González began to take an interest in local tragedies through the media. She also ventured into materials beyond the classic instruments of painting: "One day I got tired of oil, of canvas, of fine materials.” Although critics constantly referred to Beatriz González as a pop artist, she always made it clear that Warhol did not interest her at the time; she preferred abstract expressionism.


Después de estudiar un año en la Academia Van Beeldende Kunsten en Holanda en 1966, regresó a Colombia e inició su obra más característica: “los próceres de la historia extensa de Colombia, los retratos de familias "decentes" que se publicaban en los periódicos, los episodios de las páginas sociales y la crónica roja, las escenas ingenuas pintadas en los buses, las estampas populares y los cromos de venta en el pasaje Rivas”. Sus obras “Apuntes para la historia extensa de Colombia I y II”, merecieron el segundo premio en el XIX Salón Nacional de Artistas de Colombia y desataron un enfrentamiento con el historiador Arturo Abella, quien consideraba su obra como una burla y una copia; mientras que Beatriz lo consideraba como una “versión” de los retratos realizados en el periodo de independencia.
After studying for a year at the Academie van Beeldende Kunsten in the Netherlands in 1966, González returned to Colombia and began her most characteristic work, that depicting "the heroes of Colombia's long history, the portraits of ‘decent’ families that were published in the newspapers, episodes from the social pages and the crime report, naive scenes painted on buses, popular stamps and stickers for sale at the Pasaje Rivas." Her works Notes for an Extensive History of Colombia I and II (Apuntes para la historia extensa de Colombia I y II) earned her the second prize in the XIX National Artists’ Salon in Colombia and unleashed a confrontation with the historian Arturo Abella, who considered her work a mockery and a knockoff, whereas Beatriz considered it a "version" of the portraits produced during the wars of independence.


Además de pintar, Beatriz González ha sido curadora, maestra, crítica de arte e historiadora del arte. Como lo explica en la entrevista con Hans Ulrich Orbist, “pinto medio tiempo y escribo medio tiempo”. Como historiadora ha publicado: “Ramón Torres Méndez, entre lo pintoresco y la picaresca” (1985), “Roberto Páramo, pintor de la sabana” (1986), “José Gabriel Tatis, un pintor comprometido” (1987), “Fidolo Alfonso González Camargo” (1987), "Las artes plásticas en el siglo xix", en la Gran Enciclopedia de Colombia (1993), “José María Espinoza: abanderado del arte en el siglo XIX” (1998), “Andrés de Santa María: un precursor solitario” (1998), “Artistas en tiempos de guerra: Peregrino Rivera Arce” (1999), “¡Quédese quieto! Gaspard-Félix Tournachon “Nadar” (1995), “Auguste Le Moyne en Colombia 1828-1841” (2003), “Manual de Arte en el Siglo XIX en Colombia” (2013), “Pobre de mí, no soy sino un triste pintor: cartas de Luis Caballero a Beatriz González” (2014), entre otros11. Fue curadora de las colecciones de arte e historia del Museo Nacional durante catorce años, directora de educación del Museo de Arte Moderno de Bogotá durante trece años y ha sido asesora de las colecciones de arte del Banco de la República desde 1985.
In addition to painting, Beatriz González has been a curator, teacher, art critic, and art historian. As she explained in the interview with Hans Ulrich Orbist, "I paint part-time and write part-time." As a historian, she has published Ramón Torres Méndez, entre lo pintoresco y la picaresca (between the picturesque and the picaresque) (1985), Roberto Páramo, pintor de la sabana (painter of the savannah) (1986), José Gabriel Tatis, un pintor comprometido (a committed painter) (1987), Fidolo Alfonso González Camargo (1987), Las artes plásticas en el siglo xix (visual arts in the 19th century) in the Great Encyclopedia of Colombia (1993), José María Espinoza: abanderado del arte en el siglo XIX (standard bearer of art in the 19th century) (1998), Andrés de Santa María: un precursor solitario (a lonely forerunner) (1998), Artistas en tiempos de guerra: Peregrino Rivera Arce (Artists in times of war: Peregrino Rivera Arce) (1999), ¡Quédese quieto! (Stand still!) Gaspard-Félix Tournachon “Nadar” (Swim) (1995), Auguste Le Moyne en Colombia 1828-1841 (Auguste Le Moyne in Colombia 182801841) (2003), Manual de Arte en el Siglo XIX en Colombia (Manual of Art in the 19th century in Colombia) (2013), Pobre de mí, no soy sino un triste pintor: cartas de Luis Caballero a Beatriz González (Poor me, I am but a sad painter: letters from Luis Caballero to Beatriz González) (2014), and other works. She was curator of the art and history collections at the National Museum for fourteen years, director of education at the Bogotá Museum of Modern Art for thirteen years, and has been an advisor to the art collections of the Banco de la República since 1985.


===Trayectoria artística===
===Artistic career===


====Inicios====
====Beginnings====


En 1964 se presentó por primera vez en Bogotá con una exposición sobre ''La encajera'', del pintor holandés del siglo XVII, [[Jan Vermeer]]. Su obra se caracterizó por los colores vivos, y los planos y las composiciones armónicas. Posteriormente, vinieron, en 1965, las variaciones sobre [[La niña-montaje]], en las que reafirmó su refinamiento cromático. Realizó, a partir de una fotografía de prensa, dos versiones de su obra  ''Los suicidas del Sisga''<ref>‘Los suicidas del sisga’ cumplen 50 años https://www.semana.com/cultura/articulo/los-suicidas-del-asista-por-beatriz-gonzalez/440364-3</ref> con las que ganó el segundo premio especial en Pintura del XVII Salón de Artistas Nacionales de 1965.  
In 1964, González presented work for the first time in Bogotá with an exhibition on The Lacemaker by the seventeenth century Dutch painter Jan Vermeer. Her work was characterized by vivid colors, and harmonious planes and compositions. A year later in 1965 came the variations on The Girl-Montage (La niña-montaje), in which she reaffirmed her chromatic refinement. She also produced two versions of the work The Sisga Suicides (Los suicidas del Sisga)<ref>‘Los suicidas del sisga’ cumplen 50 años (The Sisga Suicides Turn 50) https://www.semana.com/cultura/articulo/los-suicidas-del-asista-por-beatriz-gonzalez/440364-3</ref>from a press photograph, winning her second special jury prize in painting at the XVII National Artists’ Salon in 1965.  


Durante la década del setenta Beatriz González volvió a sentar un precedente en la historia del arte colombiano al introducir nuevos materiales para realizar sus obra: muebles y telones. El presidente Julio César Turbay fue, en un inicio, quien más tuvo protagonismo en la obra de Beatriz: “Pinté a Turbay en el zócalo de la tragedia y en el zócalo de la comedia, obras en las que quería decir que este país se movía entre el crimen y la condecoración8”. Los temas desarrollados en su pintura comenzaron a tornarse cada vez más hacia la realidad política colombiana.<ref>Germán Rubiano Caballero. Biografía de Beatriz González. Gran Enciclopedia de Colombia del Círculo de Lectores, tomo de biografías. Editorial El Tiempo.</ref>
During the 1970s, Beatriz González once again set a precedent in the history of Colombian art by introducing new materials into her works: this time furniture and curtains. President Julio César Turbay was, at the beginning, one of the leading subjects of González’s work: "I painted Turbay in the Baseboard of Tragedy (zocalo de la tragedia) and the Baseboard of Comedy (zocalo de la comedia), works in which I wanted to say that this country moved between crime and decoration." The themes developed in her painting began to turn more and more towards Colombia's political world.<ref>Germán Rubiano Caballero. Biography of Beatriz González. Great Encyclopedia of Colombia of the Circle of Readers, Biographies Volume. Editorial El Tiempo.</ref>


A partir de la década de los ochenta, tras la toma del Palacio de Justicia y el reclutamiento de su hijo por el ejército, su obra se centró en el dolor: “la prensa es temporal, de cierta manera la labor del artista es no permitir que se olviden la muerte y el dolor”. Para abarcar estos temas González decidió retornar al óleo realizando composiciones “caóticas y simbólicas”. De acuerdo con su testimonio, siempre que sentía malestar con lo que estaba pintando, hacía correcciones éticas a su trabajo.
From the 1980s onwards, after the siege of the Palace of Justice and the recruitment of her son by the army, her work focused more on pain: "The news is temporary; in a way, the artist's job is not to allow death and pain to be forgotten." In order to cover these themes, González decided to return to oil painting, making "chaotic and symbolic" compositions. According to the artist, whenever she felt uneasy about what she was painting, she made ethical corrections to the work.


En el transcurso de los años noventa, el interés político de la obra de Beatriz González se centró en las víctimas del conflicto armado. Una de las noticias que desarrolló en su obra durante esta época fue la de los ahogados o NN arrojados a los ríos. Más adelante trabajó sobre la masacre de Las Delicias en 1997 y el sufrimiento de las mujeres en la serie Dolores. En el 2010, el documentalista Diego García Moreno realizó “Por qué llora si ya reí”, película que muestra el proceso de elaboración de la obra “Auras Anónimas”, la intervención del conjunto de cuatro columbarios que aún se conservan del Cementerio Central de Bogotá, que hasta la fecha es el único lugar de memoria dedicado a las víctimas anónimas de la violencia desatada en la capital en abril de 1948 tras el magnicidio de Jorge Eliécer Gaitán. Es además una obra con la que la artista ha participado en un pleito con la administración distrital ante la necesidad de proteger un espacio para la memoria en contravía de los planes de renovación urbana que acabarían con parte de los columbarios para la construcción de una obra pública.
During the 1990s, political interest in Beatriz González's work focused on the victims of the armed conflict. One of the news pieces she developed into an artwork during this period was that of the drowned, no-name “NN” corpses cast into rivers. Later she worked on the massacre of Las Delicias in 1997 and the suffering of women in the series Dolores. In 2010, documentary filmmaker Diego García Moreno made Beatriz González, Why Are You Crying? (Por qué llora si ya reí), a film that shows the process of making the work Anonymous Auras (Auras Anónimas), an intervention on four columbaria, still preserved in the Central Cemetery of Bogotá, which to date is the only place of memory dedicated to the anonymous victims of the violence unleashed in the capital city in April 1948 after the assassination of Jorge Eliécer Gaitán. The work has brought the artist into a legal conflict with the district administration over the need to protect a space for memory in contravention of urban renewal plans that would destroy parts of the columbaria in order to carry out public works. Her artwork The Sisga Suicides (Los Suicidas del Sisga) turned 50 in 2015, and coincidentally all three of its versions were exhibited at the Tate Modern that same year, as well as in other large retrospectives in the following years. The Sisga Suicides has turned out to be a central work  in Colombian art history, guiding the development of other artists such as Maria de la Paz Jaramillo who has recognized in González’s piece the source of her interest in press images
Su obra “Los Suicidas del Sisga” cumplió 50 años en el 2015 y casualmente fue expuesta en sus tres versiones en el Tate Modern de Nueva York ese mismo año, así como en otras grandes retrospectivas en los años siguientes. Ha sido una pieza determinante para el arte colombiano, orientando el trabajo de otros artistas como María de la Paz Jaramillo quien ha reconocido en “Los suicidas” la fuente de su interés por la imagen de prensa.


====Características de su obra====
====Features of her work====


En toda su obra, Beatriz González alude no sólo a una manera de ser, a una idiosincrasia peculiar, sino también al gusto de la gente, que la artista trata como socióloga, aunque sin dejar de incluir una dosis de ironía y siempre relacionadas con el país y lo colombiano. Paralelamente a estas obras realizadas a partir de fotografías de prensa y cromos populares.
In all her work, Beatriz González alludes not only to a way of being, to a particular idiosyncrasy, but also to the taste of the people, which the artist treats as a sociologist, although she does not fail to include a dose of irony regarding the country and the Colombian people. Parallel to these works made from press photographs and popular stamps.


Beatriz González ha trabajado numerosas versiones de obras de grandes maestros. Desde La encajera de Vermeer hasta el Guernica de Pablo Picasso, titulado Mural para fábrica socialista. La artista ha hecho variaciones de Leonardo da Vinci, Rafael, Sandro Botticelli, Jean-AugustDominique Ingres, Jean-Francois Millet, Paul Cézanne, Paul Gauguin, Edgar Degas, Pierre-August Renoir, Georges Braque, entre otros. Dos razones han llevado a Beatriz González a trabajar con obras famosas de la historia de la pintura: su inhabilidad para componer y su admiración por las obras artísticas. La pintora confiesa tener una visión prejuiciada de la historia del arte. Así, por ejemplo, de unos toalleros en forma de concha, surgió la imagen de la obra de Botricelli El nacimiento de Venus; de una lámina de madeflex estriado, un bodegón de Braque; de un peinador con espejo circular un tondo de Rafael.
Beatriz González has worked on numerous versions of works by great masters, from Vermeer's The Lacemaker to Pablo Picasso's Guernica, which she called Mural for a Socialist Factory. The artist has produced variations on Leonardo da Vinci, Raphael, Sandro Botticelli, Jean-Auguste Dominique Ingres, Jean-Francois Millet, Paul Cézanne, Paul Gauguin, Edgar Degas, Pierre-August Renoir, Georges Braque, and others. Two factors have led Beatriz González to work with famous works from the history of painting: her inability to compose and her admiration for artwork. The painter confesses to having a prejudiced vision of art history. Thus, for instance, the image of Botricelli's Birth of Venus emerges from some towel racks in the shape of a shell; from a striped sheet of MadeFlex, a still life by Braque; from a hairbrush with a circular mirror, a tondo by Raphael.


Este trabajo a partir de la reelaboración de imágenes, que incluso fue señalado como un acto de copia por el historiador Arturo Abella, es considerado en la actualidad como una forma de apropiación visual para la producción de un trabajo nuevo y auténtico, tal como lo propuso la exposición “Beatriz González: el segundo original” realizada en la Universidad de los Andes y el Museo de Arte Moderno La Tertulia. Parte de esta originalidad estriba en que González se relacionó inicialmente con estas grandes piezas de arte de manera indirecta, a través de las reproducciones encontradas en postales, enciclopedias y libros de arte de difícil acceso para la época, lo que la llevó a afirmar que Colombia tenía negada la relación con la cultura por su condición de subdesarrollo.  
This reworking of images, which was even criticized as an act of copying by historian Arturo Abella, is now considered a form of visual appropriation for the production of a new and authentic work, as proposed by the exhibition Beatriz González: The Second Original (Beatriz González: el segundo original) held at the Universidad de los Andes and La Tertulia Museum of Modern Art. Part of this originality lies in the fact that González initially related to these great works of art indirectly, through the reproductions found in postcards, encyclopedias, and art books that were difficult to come across at the time, which led her to declare that Colombia had denied its relationship to culture because of its underdevelopment.  


Como la artista ha trabajado sobre superficies de diversos materiales y texturas (láminas de metal, maderas varias, toallas, hules, cubrelechos, etc.) ha debido inventar constantemente nuevas facturas. La exploración de nuevas técnicas y materias ha resultado en algunos casos de las críticas recibidas, como ocurrió con el señalamiento de sus compañeras de universidad para quienes Beatriz era una mala dibujante pero una buena pintora. Apoyada en ese juicio, la artista incursionó en medios como la serigrafía, la heliografía y la pintura sobre muebles y objetos, haciendo de la imperfección una intención. El interés por el gusto de la gente del común la condujo a lugares como el Pasaje Rivas en Bogotá, en donde adquiría objetos de uso popular para la elaboración de sus obras. Con óleos, esmaltes o acrílicos, Beatriz González no sólo ha dominado cada una de las técnicas, sino que trabaja con una gama muy variada de colores. Ha comentado que la suya es una “pintura con temperatura” sensible al tono emocional de los contenidos que aborda, pasando de una paleta inicial inspirada por la cúpula de la Iglesia de la Sagrada Familia en Bucaramanga a una paleta oscura que denota el carácter sombrío del cambio de siglo para una sociedad azotada por la violencia sociopolítica.  
Working on surfaces of varied materials and textures (metal sheets, various woods, towels, rubber, bedspreads, etc.), González had to constantly invent new ways of making art. The exploration of techniques and materials has resulted in some cases from the critiques leveled at her, as when her university classmates told Beatriz that she was a poor draughtswoman but a good painter. Leaning on that judgment, the artist made incursions into media such as serigraphy, heliography, and painting on furniture and objects, turning imperfection into an intention. Her interest in the taste of common folk led her to places like Pasaje Rivas in Bogotá, where she acquired popular objects for producing her works. Beatriz González has not only mastered each of the techniques—including oils, glazes, and acrylics—but she also works with a very wide range of colors. She has remarked that hers is a "painting with temperature," sensitive to the emotional tone of the contents that she approaches, from an initial palette inspired by the dome of Church of the Holy Family in Bucaramanga to a dark palette that denotes the somber character of the turn of the century in a society ravaged by sociopolitical violence.  


Desde sus numerosos trabajos relacionados con la figura del presidente Julio César Turbay (dibujos al grafito, la serigrafía Decoración de interiores), hasta sus dramáticas versiones de la muerte del narcotraficante Gonzalo Rodríguez Gacha (Retratos mudos), pasando por Las Ibáñez, las viñetas de la tragedia (Un uxoricidio) y la comedia (Turbay condecorando a un personaje), los temas relacionados con los presidentes de la República (Plumario colombiano, Los papagayos, Sr. Presidente qué honor estar con Ud. en este momento histórico, alusivo a los acontecimientos relacionados con la toma del Palacio de Justicia en 1985), el ciclista Martín Emilio Rodríguez "Cochise", el ciclista Lucho Herrera y su apoteosis con el presidente Virgilio Barco, el futbolista René Higuita, los soldados vestidos en traje de campaña, los hombres asesinados, entre otros. Hay ahora un exclusivo y profundo interés por todo lo nacional, tanto desde el punto de vista histórico como desde el de la actualidad.
From her numerous works depicting to the figure of President Julio Cesar Turbay (graphite drawings, the silkscreen printing Interior Decoration [Decoración de interiores]), to her dramatic versions of the death of the drug dealer Gonzalo Rodriguez Gacha (Mute Portraits [Retratos mudos]), to Las Ibáñez, the tragedy vignettes (Uxoricide [Un uxoricidio]) and the comedy vignettes (Turbay Decorating a Personality [Turbay condecorando a un personaje]), the themes related to the presidents of the Republic (Colombian Headdress [Plumario colombiano], The Parrots [Los papagayos], Mr. President What an Honor to Be With You at This Historical Moment [Sr. Presidente qué honor estar con Ud. en este momento histórico], an allusion to the events surrounding the taking of the Palace of Justice in 1985), the cyclist Martin Emilio "Cochise" Rodriguez, the cyclist Lucho Herrera and his apotheosis with President Virgilio Barco, the footballer Rene Higuita, the soldiers dressed for war, the murdered men, and so many others. There is at this point a deep and exclusive interest in all things Colombian, both from historical and contemporary perspectives.


Pero el cambio no es solamente temático, también es formal y de contenido. El manejo de los elementos formales (planos, colores, composiciones) es ahora más complejo y descarnado y la intención de decir, a través de aquellos elementos, cuán caótica y dramática es la situación, es más escueta y aladina. Con ocasión del Quinto Centenario del descubrimiento de América en 1992, Beatriz González realizó una serie de serigrafías con el tema de un indígena en una barca. Aparte de sus pinturas y dibujos, González tiene una extensa producción de grabados. [Ver tomo 6, Arte, pp. 130 y 131].
But the change is not merely thematic; it is also formal and substantive. The handling of the formal elements (planes, colors, compositions) is now more complex and starker and the intention is to give account, through those elements, of how chaotic and dramatic the situation is, more concise and swifter. On the occasion of the Fifth Centennial of the discovery of America in 1992, Beatriz González made a series of silkscreen prints of an indigenous person in a boat. Besides from her paintings and drawings, González has extensively produced prints [See Volume 6, Arte, p. 130 and 131].


:::"''Mi pintura no es la búsqueda de un fin por intermedio de temas irónicos, sino una pintura con temperatura. No hago objetos cursis con la misma especie de morbosidad que mueve a ciertas personas a coleccionar objetos del llamado mal gusto. No creo que la sociedad en que trabajo sea cursi sino desmedida, en todas las proporciones y sentidos [...].
:::"''My painting is not the search for an end through ironic themes, but rather a painting with temperature. I don't make cheesy or corny objects with the same kind of morbidity that moves certain people to collect objects in so-called bad taste. I don’t think the society in which I work is a cheesy society, but it is an excessive one, in every sense and proportion. [...]  


:::''A mí lo que me interesa es el gusto. Me interesa el porqué una persona coloca estas cosas y no otras en su casa. Si hubiera sino una artista conceptual, desde el 70 habría puesto una tarjeta diciendo: vayan y vean la casa de zutano. Y otra: vayan y vean la casa de fulano. Pero como soy una artista a la antigua, necesito pintar y pinto. Yo me pregunto porqué diablos me llamó la atención la foto de los suicidas en el periódico. Fue el gris de la cara, igual a unos trabajos que estaba realizando, o fue la cosa popular de dos personas que entran en un pacto suicida y que unen sus manos para una foto que envían a sus familiares? Pero no, porque el tema lo leí después. Era la foto, el sombrero que él llevaba, en fin [...]''
:::''What interests me is taste. I am interested in why a person places certain objects and not others in their home. If I had been but a conceptual artist, since 1970 I would have put up a card saying: go and see so-and-so’s house. And another one: go and see so-and-so's house. But since I'm an old-fashioned artist, I need to paint and I paint. I wonder why the hell the picture of the suicides in the newspaper caught my attention. Was it the grayness of the face, similar to some work I was doing at the time, or was it that folksy thing of two people entering into a suicide pact and joining hands for a photo to send to their relatives? But no, it can’t be that because I read about it later. It was the photo itself, the hat he was wearing, anyway [...]  


:::''En mí hay una predisposición a mirar el gusto de la gente''".  
:::''In me there is a predisposition to look at people's taste.  


:::''Beatriz Gonzalez''
:::''Beatriz Gonzalez''


En paralelo a la producción de su obra, la artista ha compilado un vasto archivo que rastrea, entre varios temas, la trayectoria de distintos artistas relevantes de la segunda mitad del siglo XX y los más importantes acontecimientos de la historia reciente de Colombia. Los proyectos artísticos desarrollados a partir de los años noventa han puesto en discusión la relación del pueblo colombiano con las imágenes de prensa sobre la violencia y el duelo por los asesinatos, los secuestros, las desapariciones y los desplazamientos forzosos, empleando la repetición como ejercicio plástico que interroga la indiferencia y la habituación ante la reiteración de las escenas trágicas de la guerra. Sus obras proponen ejercicios de memoria que buscan hacer evidente lo indecible y lo silenciado del conflicto armado interno a través de técnicas gráficas que hacen posible la reproducción serial y repetitiva, o a través de la pintura que fija los símbolos de la violencia ante la caducidad y la aparición efímera de la imagen de prensa. Su producción más reciente investiga también la victimización de la población civil por cuenta de otros eventos como los desastres naturales y la crisis humanitaria que atraviesan los ciudadanos venezolanos en su trasegar por el territorio colombiano, tras huir de las duras condiciones políticas y económicas de la última década en el país vecino.
In addition to her artistic output, González has compiled a vast archive over the years that traces, among various other topics, the careers of various notable artists of the second half of the twentieth century as well as the most important events of recent Colombian history. Her artistic projects since the nineties have discussed the relationship between the Colombian people and press images of violence and mourning over the murders, kidnappings, disappearances, and forced displacements, using repetition as a visual exercise that questions indifference and habituation in the face of constant tragic war scenes. Her work proposes exercises of memory that seek to make evident the unmentioned and silenced episodes of the armed conflict through the graphic techniques of serial reproduction, or else through painting that preserves the symbols of violence in the face of the ephemerality of the press image. Her most recent production also investigates the victimization of the civilian population on account of other events such as natural disasters and the humanitarian crisis of Venezuelan citizens moving through Colombian territory after fleeing the harsh political and economic conditions of the last decade in the neighboring country.


===Obras destacadas===
*'''{{Fecha|2019|link=}}''': Study for War and Peace (Estudio para telones La guerra y la paz)
* 2019: “Estudio para telones La guerra y la paz”
*'''{{Fecha|2017|link=}}''': Displacement Recto and Verso (Desplazamiento anverso y reverse)
* 2017: “Desplazamiento anverso y reverso”
*“Elemental Landscapes (Paisajes elementales)
* 2017: “Paisajes elementales”
*'''{{Fecha|2015|link=}}''': Zulia, Zulia, Zulia
* 2015: “Zulia, Zulia, Zulia”
*'''{{Fecha|2012 - 2011|link=}}''': Comedy and Tragedy (La comedia y la tragedia)
*'''{{Fecha|2012 - 2011|link=}}''': "La comedia y la tragedia".
*'''{{Fecha|2010|link=}}''': Endless Alonso Garcés Gallery (Sinfin Alonso Garcés Galería)
*'''{{Fecha|2010|link=}}''': "Sinfin" Alonso Garcés Galería.
*'''{{Fecha|2009|link=}}''': Furtive Letter (Carta Furtiva)
*'''{{Fecha|2009|link=}}''': "Carta Furtiva".
*'''{{Fecha|2008|link=}}''': Rancho Grande Radio (Ondas de rancho grande)
*'''{{Fecha|2008|link=}}''': "Ondas de rancho grande".
*'''{{Fecha|2007-2009|link=}}''': Anonymous Auras (Auras anónimas)
*2007-2009: “Auras anónimas”.
*'''{{Fecha|2006|link=}}''': Where Clarity Itself is Shade, recent work (Donde la misma claridad es sombra Obra reciente)
*'''{{Fecha|2006|link=}}''': "Donde la misma claridad es sombra" Obra reciente".
**"Vistahermosa"
**"Vistahermosa".
*'''{{Fecha|2005|link=}}''': Anthology accompanying the launch of Beatriz González’s book
*'''{{Fecha|2005|link=}}''': Exposición antológica con motivo del lanzamiento del libro Beatriz González.
*'''{{Fecha|2004|link=}}''': The Instant Image I (La imagen instantánea I)
*'''{{Fecha|2004|link=}}''': "La imagen instantánea I".
*'''{{Fecha|2003|link=}}''': Verónica.
*'''{{Fecha|2003|link=}}''': "Verónica".
*'''{{Fecha|2002|link=}}''': Wallpaper (Papel de colgadura)
*'''{{Fecha|2002|link=}}''': "Papel de colgadura".
*'''{{Fecha|2001|link=}}''': Dolores, recent work (Dolores. Obra reciente)
*'''{{Fecha|2001|link=}}''': "Dolores. Obra reciente".
*'''{{Fecha|2000|link=}}''': Beatriz González
*'''{{Fecha|2000|link=}}''': "Beatriz González".
**"Dolores"
**"Dolores".
*'''{{Fecha|1998|link=}}''': What an Honor to Be With You at This Historical Moment (Qué honor estar con usted en este momento histórico)
*'''{{Fecha|1998|link=}}''': "Qué honor estar con usted en este momento histórico".
*'''{{Fecha|1997|link=}}''': Self-Portrait, Nude, Crying (Autorretrato desnuda llorando)
*1997: “Autorretrato desnuda llorando”
*'''{{Fecha|1997|link=}}''': Las Delicias
*'''{{Fecha|1997|link=}}''': "Las Delicias".
*'''{{Fecha|1996|link=}}''': Thirty Years of Graphic Work by Beatriz González (Treinta años en la obra gráfica de Beatriz González)
*'''{{Fecha|1996|link=}}''': "Treinta años en la obra gráfica de Beatriz González". 
*'''{{Fecha|1995|link=}}''': The Color of Death (El color de la muerte)
*'''{{Fecha|1995|link=}}''': "El color de la muerte".
*'''{{Fecha|1994|link=}}''': Beatriz González  Retrospective (Beatriz González. Retrospectiva)
*'''{{Fecha|1994|link=}}''': "Beatriz González. Retrospectiva".
*'''{{Fecha|1992|link=}}''': 1/500  Drawing, Painting, Silkscreen (1/500. Dibujo, pintura, serigrafías)
*'''{{Fecha|1992|link=}}''': "1/500. Dibujo, pintura, serigrafías".
*'''{{Fecha|1991|link=}}''': The Constituent Assembly (La Constituyente)
*1991: “La Constituyente”.
*'''{{Fecha|1990|link=}}''': Beatriz González, A Decadev1980-1990 (Beatriz González. Una década)
*'''{{Fecha|1990|link=}}''': "Beatriz González. Una década: 1980-1990".
*'''{{Fecha|1984|link=}}''': Beatriz González  Retrospective (Beatriz González. Retrospectiva)
*'''{{Fecha|1984|link=}}''': "Beatriz González. Retrospectiva".
*'''{{Fecha|1983|link=}}''': National Identity (Identidad nacional)
*'''{{Fecha|1983|link=}}''': "Identidad nacional".
*'''{{Fecha|1980|link=}}''': Color Television (Televisión en colores)
*'''{{Fecha|1980|link=}}''': "Televisión en colores".
*'''{{Fecha|1979|link=}}''': Beatriz González’s Curtains (Los telones de Beatriz González)
*'''{{Fecha|1979|link=}}''': "Los telones de Beatriz González".
*'''{{Fecha|1978|link=}}''': Ten Meters of Renoir (Diez metros de Renoir)
*'''{{Fecha|1978|link=}}''': "Diez metros de Renoir".
*'''{{Fecha|1976|link=}}''': Retrospective—An Inventory (Retrospectiva - Un inventario)
*'''{{Fecha|1976|link=}}''': "Retrospectiva - Un inventario".
*'''{{Fecha|1964|link=}}''': Lacemakers (Encajeras)
*'''{{Fecha|1964|link=}}''': "Encajeras".


===Obras de Beatriz González en las Colecciones del Banco de la República===
===Works by Beatriz González in the Collections of the Banco de la República===


{|class="wikitable" border="0" style="background:#ffffff; width: 90%" align="top"  
{|class="wikitable" border="0" style="background:#ffffff; width: 90%" align="top"  
|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Obras de Beatriz González en la Colección de Arte del Banco de la República'''</big>
|+ align="center" style="background:DarkSlateBlue; color:white"|<big>'''Works by Beatriz González in the Collections of the Banco de la República'''</big>
! width="300 px" style="background:Lavender; color:Black"|Título
! width="300 px" style="background:Lavender; color:Black"|Title
! width="40 px" style="background:Lavender; color:Black"|Año
! width="40 px" style="background:Lavender; color:Black"|Year
! width="80 px" style="background:Lavender; color:Black"|Ubicación
! width="80 px" style="background:Lavender; color:Black"|Location
! width="80 px" style="background:Lavender; color:Black"|Denominación
! width="80 px" style="background:Lavender; color:Black"|Technique
! width="80 px" style="background:Lavender; color:Black"|Registro
! width="80 px" style="background:Lavender; color:Black"|Registration number
|-
|-
||Mi lucha
||My Struggle (Mi lucha)
||1974
||1974
||Reserva
||Reserve
||Grabado
||Print
||AP3598
||AP3598
|-
|-
||El arzobispo virrey como Salomé
||Archbishop Viceroy as Salome (El arzobispo virrey como Salomé)
||1981
||1981
||Reserva
||Reserve
||Grabado
||Print
||AP1174
||AP1174
|-
|-
||Túmulo funerario para soldados bachilleres
||Funeral Mound for Adolescent Soldiers (Túmulo funerario para soldados bachilleres)
||1986
||1986
||Reserva
||Reserve
||Grabado
||Print
||AP3610
||AP3610
|-
|-
||Naturaleza viva II
||Living Nature II (Naturaleza viva II)
||1969
||1969
||Reserva
||Reserve
||Pintura
||Painting
||AP2163
||AP2163
|-
|-
||Tapen tapen
||Tapen tapen
||1994
||1994
||Reserva
||Reserve
||Pintura
||Painting
||AP2746
||AP2746
|-
|-
||Alcibiadillo de Colombia... muerte trágica. Impresionante escena en pleno salón de la mueblería "San Martín". El cadáver del torero indigente asesinado por el hampa ayer.
||Alcibiadillo de Colombia... Tragic Death. Impressive Scene in the Middle of the San Martín Furniture Store. The Body of the Homeless Bullfighter Murdered Yesterday by the Underworld. (Alcibiadillo de Colombia... muerte trágica. Impresionante escena en pleno salón de la mueblería "San Martín". El cadáver del torero indigente asesinado por el hampa ayer. )
||1970
||1970
||Reserva
||Reserve
||Grabado
||Print
||AP3580
||AP3580
|-
|-
||Veterano de Corea mata a la suegra, a la esposa y luego se suicida
||Korean Veteran Kills Mother-In-Law, Wife, Then Kills Himself (Veterano de Corea mata a la suegra, a la esposa y luego se suicida)
||1968
||1968
||Reserva
||Reserve
||Grabado
||Print
||AP3581
||AP3581
|-
|-
||Oh!, mamacita, cuando me vayan a enterrar le agradezco que me visiten con el traje amarillo y la corbata que compró en estos días, cosa que me sienta en ese momento el pavito más contento de mi vida...(Título completo en documen. Asoc.)
||Oh! Mamacita, when you bury me, please dress me in the yellow suit and tie I bought recently, something that makes me feel so happy at the moment…(Oh!, mamacita, cuando me vayan a enterrar le agradezco que me visten con el traje amarillo y la corbata que compró en estos días, cosa que me sienta en ese momento el pavito más contento de mi vida...)(Complete title in the Asoc. document)  
||1969
||1969
||Reserva
||Reserve
||Grabado
||Print
||AP3582
||AP3582
|-
|-
||Disfrazado de motorista de circulación pero cubriendo el uniforme con una gabardina iba uno de los antisociales muertos ayer
||One of the Antisocials Killed Yesterday was Disguised as a Motorcyclist but was Covering his Uniform with a Raincoat (Disfrazado de motorista de circulación pero cubriendo el uniforme con una gabardina iba uno de los antisociales muertos ayer)
||1978
||1978
||Reserva
||Reserve
||Grabado
||Print
||AP3156
||AP3156
|-
|-
||La gráfica de Amparito muestra la forma como fue hallado el cadáver del desafortunado anciano Catalino Díaz Izquierdo
||Amparito's Graphic Shows How the Body of the Unfortunate Old Man Catalino Díaz Izquierdo was Found (La gráfica de Amparito muestra la forma como fue hallado el cadáver del desafortunado anciano Catalino Díaz Izquierdo)
||1968
||1968
||Reserva
||Reserve
||Grabado
||Print
||AP3584
||AP3584
|-
|-
||Harakiri en plena calle
||Harakiri in the Middle of the Street (Harakiri en plena calle)
||1970
||1970
||Reserva
||Reserve
||Grabado
||Print
||AP3585
||AP3585
|-
|-
||Asesinada mujer en hospedaje, no ha sido posible identificarla
||Woman Murdered in a Lodge, it hasn’t been possible to identify her (Asesinada mujer en hospedaje, no ha sido posible identificarla)
||1969
||1969
||Reserva
||Reserve
||Grabado
||Print
||AP3586
||AP3586
|-
|-
||“La felicidad de Pablo Leyva: IV. Yo soy albañil”
||The Happiness of Pablo Leyva: IV. I Am a Bricklayer (La felicidad de Pablo Leyva: IV. Yo soy albañil)
||1977
||1977
||Reserva
||Reserve
||Grabado
||Print
||AP3587
||AP3587
|-
|-
||“La felicidad de Pablo Leyva: V. Yo soy enfermera”
||The Happiness of Pablo Leyva: V. I Am a Nurse (La felicidad de Pablo Leyva: V. Yo soy enfermera)
||1977
||1977
||Reserva
||Reserve
||Grabado
||Print
||AP3588
||AP3588
|-
|-
||“La felicidad de Pablo Leyva: III. Yo soy maestra”
||The Happiness of Pablo Leyva: III. I Am a Teacher (La felicidad de Pablo Leyva: III. Yo soy maestra)
||1977
||1977
||Reserva
||Reserve
||Grabado
||Print
||AP3589
||AP3589
|-
|-
||Autorretrato Rembrandt-copia
||Rembrandt Self-Portrait, Copy (Autorretrato Rembrandt-copia)
||1966
||1966
||Reserva
||Reserve
||Grabado
||Print
||AP3590
||AP3590
|-
|-
||Postales González. Se reanudan relaciones Colombo Soviéticas
||González Postcards: Soviet-Colombian Relations Resumed (Postales González. Se reanudan relaciones Colombo Soviéticas)
||1978
||1978
||Reserva
||Reserve
||Grabado
||Print
||AP3591
||AP3591
|-
|-
||Postales González. Mora en leche
||González Postcards: Blackberry Milkshake (Postales González. Mora en leche)
||1978
||1978
||Reserva
||Reserve
||Grabado
||Print
||AP3592
||AP3592
|-
|-
||Postales González. La bienal de artes plásticas
||González Postcards: The Visual Arts Biennial (Postales González. La bienal de artes plásticas)
||1978
||1978
||Reserva
||Reserve
||Grabado
||Print
||AP3593
||AP3593
|-  
|-  
||Happy birthday
||Happy birthday
||1971
||1971
||Reserva
||Reserve
||Grabado
||Print
||AP3594
||AP3594
|-
|-
||La otra cara de Ludwig Van
||The Other Face of Ludwig Van (La otra cara de Ludwig Van)
||1973
||1973
||Reserva
||Reserve
||Grabado
||Print
||AP3595
||AP3595
|-
|-
||La iglesia está en peligro
||The Church is in Danger (La iglesia está en peligro)
||1976
||1976
||Grabado
||Print
||Pintura
||Painting
||AP3596
||AP3596
|-
|-
||Jackeline Oasis
||Jackeline Oasis  
||1975
||1975
||Reserva
||Reserve
||Grabado
||Print
||AP3597
||AP3597
|-
|-
||Cromo in memoria
||Stamp in Memory (Cromo in memoria)
||1976
||1976
||Reserva
||Reserve
||Grabado
||Print
||AP3599
||AP3599
|-
|-
||La actualidad ilustrada
||Illustrated News (La actualidad ilustrada)
||1974
||1974
||Reserva
||Reserve
||Grabado
||Print
||AP3600
||AP3600
|-
|-
||Ya llegó la fecha
||The Time Has Come (Ya llegó la fecha)
||1977
||1977
||Reserva
||Reserve
||Grabado
||Print
||AP3601
||AP3601
|-
|-
||Los reveses de la realeza
||The Setbacks of Royalty (Los reveses de la realeza)
||1974
||1974
||Reserva
||Reserve
||Grabado
||Print
||AP3602
||AP3602
|-
|-
||El concordato
||The Concordat (El concordato)
||1993
||1993
||Reserva
||Reserve
||Grabado
||Print
||AP3603
||AP3603
|-
|-
||Bolívar azul
||Blue Bolívar (Bolívar azul)
||1983
||1983
||Reserva
||Reserve
||Grabado
||Print
||AP3604
||AP3604
|-
|-
||Bolívar rojo
||Red Bolívar (Bolívar rojo)
||1983
||1983
||Reserva
||Reserve
||Grabado
||Print
||AP3605
||AP3605
|-
|-
||Bolívar amarillo
||Yellow Bolívar (Bolívar Amarillo)
||1983
||1983
||Reserva
||Reserve
||Grabado
||Print
||AP3606
||AP3606
|-
|-
||Zócalo de la comedia
||Baseboard of Comedy (Zócalo de la comedia)
||1983
||1983
||Reserva
||Reserve
||Grabado
||Print
||AP3607
||AP3607
|-
|-
||Zócalo de la tragedia
||Baseboard of Tragedy (Zócalo de la tragedia)
||1983
||1983
||Reserva
||Reserve
||Grabado
||Print
||AP3608
||AP3608
|-
|-
||Plumario colombiano
||Colombian Headdress (Plumario colombiano)
||1983
||1983
||Reserva
||Reserve
||Grabado
||Print
||AP3609
||AP3609
|-
|-
||Túmulo funerario para soldados bachilleres
||Funeral Mound for Adolescent Soldiers (Túmulo funerario para soldados bachilleres)
||1986
||1986
||Reserva
||Reserve
||Grabado
||Print
||AP3610
||AP3610
|-
|-
||La isla del conejo de la suerte
||Lucky Rabbit Island (La isla del conejo de la suerte)
||1993
||1993
||Reserva
||Reserve
||Grabado
||Print
||AP3611
||AP3611
|-
|-
||Uxoricidio
||Uxoricide (Uxoricidio )
||1984
||1984
||Reserva
||Reserve
||Grabado
||Print
||AP3612
||AP3612
|-
|-
||Lucho y Bachué
||Lucho and Bachué (Lucho y Bachué)
||1987
||1987
||Reserva
||Reserve
||Grabado
||Print
||AP3613
||AP3613
|-
|-
||Decoración de interiores
||Interior Decoration (Decoración de interiores)
||1981
||1981
||Reserva
||Reserve
||Grabado
||Print
||AP3614
||AP3614
|-
|-
||Esta bienal es un lujo que un país subdesarrollado no se debe dar
||This Biennial is a Luxury that an Underdeveloped Country Should not Afford Itself (Esta bienal es un lujo que un país subdesarrollado no se debe dar)
||1981
||1981
||Reserva
||Reserve
||Grabado
||Print
||AP3615
||AP3615
|-
|-
||Ya llegó la fecha II
||The Time Has Come II (Ya llegó la fecha II)
||1979
||1979
||Reserva
||Reserve
||Grabado
||Print
||AP3616
||AP3616
|-
|-
||Porfirio
||Porfirio
||1983
||1983
||Reserva
||Reserve
||Grabado
||Print
||AP3617
||AP3617
|-  
|-  
||Viva México
||Viva México
||1979
||1979
||Reserva
||Reserve
||Grabado
||Print
||AP3618
||AP3618
|-
|-
||Bodegón colombiano
||Colombian Still Life (Bodegón colombiano)
||1983
||1983
||Reserva
||Reserve
||Grabado
||Print
||AP3619
||AP3619
|-
|-
||Yubilí
||Yubilí
||1979
||1979
||Reserva
||Reserve
||Grabado
||Print
||AP3620
||AP3620
|-
|-
||1/500
||1/500
||1992
||1992
||Reserva
||Reserve
||Grabado
||Print
||AP3621
||AP3621
|-
|-
||Cuentos para citaniños
||Tales for City Kids (Cuentos para citaniños)
||1973
||1973
||Reserva
||Reserve
||Grabado
||Print
||AP3622
||AP3622
|-
|-
||Retratos mudos
||Mute Portraits (Retratos mudos)
||1990
||1990
||Reserva
||Reserve
||Pintura
||Painting
||AP4236
||AP4236
|-
|-
||Lágrimas y peces
||Tears and Fish (Lágrimas y peces)
||1997
||1997
||Reserva
||Reserve
||Pintura
||Painting
||AP4243
||AP4243
|-
|-
||Kennedy (John Fitzgerald), político demócrata norteamericano (1917-1963), presidente de los Estados Unidos en 1961. Murió asesinado.
||Kennedy (John Fitzgerald), American Democratic politician (1917-1963), president of the United States in 1961. He was assassinated. (Kennedy (John Fitzgerald), político demócrata norteamericano (1917-1963), presidente de los Estados Unidos en 1961. Murió asesinado.)
||1971
||1971
||Reserva
||Reserve
||Pintura
||Painting
||AP5024
||AP5024
|-
|-
||Sun Maid
||Sun Maid
||1974
||1974
||Reserva
||Reserve
||Pintura
||Painting
||AP5289
||AP5289
|-
|-
||La muerte del pecador
||Death of a Picador (La muerte del picador)
||1973
||1973
||Reserva
||Reserve
||Pintura
||Painting
||AP5320
||AP5320
|-
|-
||Ventana entreabierta
||Window Ajar (Ventana entreabierta)
||2001
||2001
||Reserva
||Reserve
||Pintura
||Painting
||AP6190
||AP6190
|-
|-
|}
|}


==Cronología==
==Timeline==


*'''{{Fecha|1932|link=}}''': Nace en la ciudad de Bucaramanga, Santander. Hija de Valentín González Rangel y Clementina Aranda Mantilla, y hermana menor de Jorge y Lucila.  
*'''{{Fecha|1932|link=}}''': Born in the city of Bucaramanga, Santander, to Valentín González Rangel and Clementina Aranda Mantilla. Younger sister of Jorge and Lucila.
*'''{{Fecha|1948|link=}}''': Estudia en el Colegio de las Franciscanas de Bucaramanga.  
*'''{{Fecha|1948|link=}}''': Study at the Franciscan School of Bucaramanga.
*'''{{Fecha|1956|link=}}''': Llega a Bogotá a realizar estudios de arquitectura en la Universidad Nacional de Colombia, permanece en la facultad dos años antes de decidirse      a cambiar de carrera.  
*'''{{Fecha|1956|link=}}''': Arrives in Bogota to study architecture at Colombia's National University. After two years decides to switch degrees.
*'''{{Fecha|1958|link=}}''': Viaja a Bucaramanga y trabaja haciendo decoraciones para vitrinas y escenografías para desfiles.  
*'''{{Fecha|1958|link=}}''': Travels to Bucaramanga and designs window displays and sets for parades.
*'''{{Fecha|1959|link=}}''': Regresa a Bogotá e ingresa a la Facultad de Artes de la Universidad de los Andes.  
*'''{{Fecha|1959|link=}}''': Returns to Bogotá and enters the Faculty of Arts at the Universidad de los Andes.
*'''{{Fecha|1962|link=}}''': se gradúa de la universidad y realiza una exposición junto a sus compañeras Camila Loboguerrero y Gloria Martínez.  
*'''{{Fecha|1962|link=}}''': Graduates and holds an exhibition with colleagues Camila Loboguerrero and Gloria Martínez.
*'''{{Fecha|1964|link=}}''': Realiza su primera exposición gracias a un programa impulsado por el Museo de arte Moderno de Bogotá dedicado a la difusión de los nuevos talentos. Obtiene una mención en el Primer Salón Intercol.  
*'''{{Fecha|1964|link=}}''': Holds first exhibition thanks to a program promoted by the Bogotá Museum of Modern Art, dedicated to showcasing new talent. Obtains a mention in the First Intercol Salon.
*'''{{Fecha|1965|link=}}''': La obra “Los suicidas del Sisga” es rechazada por el jurado de admisión para el XVII Salón Nacional de Artistas. El fallo es reconsiderado y la obra obtiene el segundo premio especial del jurado.  
*'''{{Fecha|1965|link=}}''': The Sisga Suicides (Los Suicida del Sisga) is rejected by the admission jury for the XVII National Artists' Salon. The decision is reconsidered and the work obtains the second special jury prize.
*'''{{Fecha|1966|link=}}''': Viaja a Rotterdam, Holanda a tomar un curso de grabado en la Academia  Van Beeldende Kunsten.  
*'''{{Fecha|1966|link=}}''': Travels to Amsterdam, the Netherlands, to take a course in engraving at the Academie van Beeldende Kunsten.
*'''{{Fecha|1969|link=}}''': Su obra “Es Copia” es rechazada en el XX Salón de artistas Colombianos. Obtiene un premio en Salón Austral de Grabado.  
*'''{{Fecha|1969|link=}}''': Her work It's a Copy (Es Copia) is rejected at the XX Salon of Colombian Artists. She obtains a prize in the Southern Engraving Salon.
*'''1970:''' Inicia su periodo como directora de educación del Museo de Arte Moderno de Bogotá, labor que desempeña hasta 1983.
*'''{{Fecha|1970|link=}}''': Begins her period as director of education at the Bogotá Museum of Modern Art, a position she held until 1983.
*'''{{Fecha|1971|link=}}''': Es seleccionada por el Instituto Colombiano de Cultura como representante de Colombia a la XI Bienal de Sao Paulo, Brasil.  
*'''{{Fecha|1971|link=}}''': Selected by the Colombian Institute of Culture as Colombia's representative to the XI Biennial of Sao Paulo, Brazil.
*'''{{Fecha|1973|link=}}''': Expone sus muebles junto a Luis Caballero en el Museo de Arte Moderno de Bogotá.  
*'''{{Fecha|1973|link=}}''': Exhibits her furniture alongside Luis Caballero at the Bogotá Museum of Modern Art.
*'''{{Fecha|1976|link=}}''': Cierra la etapa de los muebles y comienza a experimenta con superficies textiles.
*'''{{Fecha|1976|link=}}''': Ends furniture work and begins experimenting with textile surfaces.
*'''{{Fecha|1978|link=}}''': Inicia la escuela de guías del Museo de Arte Moderno. Es seleccionada para la XXVIII Bienal de Venecia.  
*'''{{Fecha|1978|link=}}''': Launches the guide school of the Museum of Modern Art. She is selected for the 28th Venice Biennale.
*'''{{Fecha|1980|link=}}''': Su obra comienza a tornarse política durante la gestión del presidente Turbay Ayala.  
*'''{{Fecha|1980|link=}}''': Her work becomes political during the administration of president Turbay Ayala.
*'''{{Fecha|1985|link=}}''': Inicia su gestión como miembro del consejo asesor de artes plásticas del Banco de la República.  
*'''{{Fecha|1985|link=}}''': Begins working as a member of the Banco de la República advisory board for visual arts.
*'''{{Fecha|1990|link=}}''': Asume la curaduría de las colecciones de arte e historia del Museo Nacional de Colombia. Recibe una mención extraordinaria en el XXXIII Salón Nacional de Artistas por su trayectoria.  
*'''{{Fecha|1990|link=}}''': Becomes curator of the art and history collections of Colombia's National Museum. Receives an extraordinary mention at the XXXIII National Artists' Salon for her career.
*'''{{Fecha|1993|link=}}''': Exhibición Por humor al arte en la Biblioteca Luis Ángel Arango, Bogotá.  
*'''{{Fecha|1993|link=}}''': Exhibition For the Humor of Art (Por humor al arte) at the Luis Angel Arango Library, Bogotá.
*'''{{Fecha|1996|link=}}''': Exposición itinerante del Banco de la República Treinta años de la obra gráfica de Beatriz González.
*'''{{Fecha|1996|link=}}''': Traveling exhibition by Banco de la República
*'''{{Fecha|1997|link=}}''': Exposición individual sobre la masacre de “Las Delicias” en la Galería Garcés Velásquez, Bogotá.
*'''{{Fecha|1997|link=}}''': Individual exhibition on the Las Delicias massacre at the Garcés Velásquez Gallery in Bogotá.
*'''{{Fecha|1998|link=}}''': Exposición retrospectiva Que honor estar con usted en este momento histórico en el Museo del Barrio, Nueva York.
*'''{{Fecha|1998|link=}}''': Retrospective exhibition What an Honor to Be With You at This Historical Moment (Qué honor estar con usted en este momento histórico) at el Museo del Barrio, New York.
*'''2000:''' Es nombrada maestra honoris causa en Artes Plásticas por la Universidad de Antioquia.
*'''{{Fecha|2000|link=}}''': Named honorary master of visual arts by the University of Antioquia.
*'''{{Fecha|2001|link=}}''': Realiza la muestra Dolores basada en las imágenes de los indigenistas norteamericanos asesinados por la guerrilla.  
*'''{{Fecha|2001|link=}}''': Produces Dolores, an exhibition based on the images of the pro-indigenous American killed by the guerrillas.
*'''{{Fecha|2004|link=}}''': Se retira de su cargo como curadora del Museo Nacional de Colombia.  
*'''{{Fecha|2004|link=}}''': Retires from her position as curator of Colombia's National Museum.
*'''{{Fecha|2006|link=}}''': Premio “Vida y Obra” por el Ministerio de Cultura.  
*'''{{Fecha|2006|link=}}''': Honored with "Life and Work" award by the Ministry of Culture.
*'''{{Fecha|2009|link=}}''': Curadora e investigadora de la exposición La caricatura en Colombia a partir de la Independencia en el Banco de la República.  
*'''{{Fecha|2009|link=}}''': Curator and researcher of the exhibition La caricatura en Colombia a partir de la Independencia at Banco de la República.
*'''{{Fecha|2010|link=}}''': El documentalista Diego García Moreno realiza la película Por qué llora si ya reí, película que documenta el proceso de elaboración de la obra “Auras Anónimas”.  
*'''{{Fecha|2010|link=}}''': The documentary filmmaker Diego García Moreno releases the film Beatriz González, Why Are You Crying? documenting the process of making Anonymous Auras (Auras Anónimas).
*'''{{Fecha|2011|link=}}''': Exhibición retrospectiva en el Museo de Arte Moderno de Medellín.  
*'''{{Fecha|2011|link=}}''': Retrospective exhibition at the Medellín Museum of Modern Art.
*'''2013:''' La Universidad de los Andes publica el libro Manual de arte del siglo XIX, escrito por Beatriz González.
*'''{{Fecha|2013|link=}}''': Universidad de los Andes publishes the book Manual de arte del siglo XIX, written by Beatriz González.
*'''{{Fecha|2014|link=}}''': Publica el libro Pobre de mí, no soy sino un triste pintor, recopilación epistolar con Luis Caballero.  
*'''{{Fecha|2014|link=}}''': Publishes the book Pobre de mí, no soy sino un triste pintor, collection of correspondence with Luis Caballero.
*'''{{Fecha|2015|link=}}''': Su obra “Los Suicidas del Sisga” cumple 50 años. Casualmente expone ese mismo año las tres versiones de la obra en el Tate Modern en Nueva York.
*'''{{Fecha|2015|link=}}''': Her work The Sisga Suicides turns 50. She exhibits the three versions of the work at the Tate Modern.
*'''{{Fecha|2016|link=}}''': Exposición en el Museo la Tertulia, Cali Beatriz González y su segundo original.
*'''{{Fecha|2016|link=}}''': Exhibition at the La Tertulia Museum in Cali
*'''{{Fecha|2017|link=}}''': Exposición retrospectiva Museo de Arte Contemporáneo de Burdeos.
*'''{{Fecha|2017|link=}}''': Retrospective exhibition at the Museum of Contemporary Art in Bordeaux.
*'''2019:''' El Pérez Art Museum de Miami (PAMM) y el Museum of Fine Arts de Houston (MFAH) realizan una gran retrospectiva de la obra de Beatriz González.  
*'''{{Fecha|2019|link=}}''': The Perez Art Museum in Miami (PAMM) and the Museum of Fine Arts, Houston (MFAH) hold a major retrospective of Beatriz González's work.
*'''2020:''' La Universidad de los Andes le otorga un doctorado honoris causa por sus aportes al arte y la historia en Colombia. El Banco de la República rinde homenaje a la artista con la exposición Beatriz González: una retrospectiva, que incluye una selección de su obra y su archivo.
*'''{{Fecha|2020|link=}}''': University of the Andes awards her an honorary doctorate for her contributions to art and art history in Colombia. The Banco de la República pays tribute to the artist with the exhibition Beatriz González


==Véase también==
==See also ==


* [[Gonzalo Ariza]]
* [[Gonzalo Ariza]]
* [[Débora Arango Pérez]]
* [[Débora Arango Pérez]]
* [[Doris Salcedo]]
* [[Doris Salcedo]]
* [[Colección de Arte del Banco de la República]]
* [https://enciclopedia.banrepcultural.org/index.php?title=Colecci%C3%B3n_de_Arte_del_Banco_de_la_Rep%C3%BAblica Banco de la República’s collection of art]
* [https://www.banrepcultural.org/coleccion-bibliografica/especiales/historia-de-la-caricatura-en-colombia Historia de la caricatura en Colombia:]
* [https://www.banrepcultural.org/coleccion-bibliografica/especiales/historia-de-la-caricatura-en-colombia History of caricature in Colombia]
* [https://www.youtube.com/watch?v=PPJj1GsaG7g Video de la curaduría Rupturas y continuidades: siglo XIX:]
* [https://www.youtube.com/watch?v=PPJj1GsaG7g Video de Video of the curatorship “Rupturas y continuidades: siglo XIX”]
* [https://proyectos.banrepcultural.org/libretas-de-dibujos/es Micrositio de Libretas de dibujos: reencuentros de memoria gráfica: ]
* [https://proyectos.banrepcultural.org/libretas-de-• Sketchbook microsite: re-encounters of graphic memory ]
* [http://babel.banrepcultural.org/digital/collection/p17054coll10/id/3740 Roberto Páramo: pintor de la sabana: ]
* [http://babel.banrepcultural.org/digital/collection/p17054coll10/id/3740 Roberto Páramo: painter of the savannah]


==Referencias==
==References==
{{listaref}}
{{listaref}}


==Bibliografía==
==Bibliography==
 
*Ardila, J. (1974). Apuntes para la historia extensa de Beatriz González. Bogotá: Tercer Mundo.
*Ardila, J. (1974). Apuntes para la historia extensa de Beatriz González. Bogotá: Tercer Mundo.
*Serrano, E. (1976). Beatriz González. Cali: Museo de Arte Moderno La Tertulia.
*Serrano, E. (1976). Beatriz González. Cali: La Tertulia Museum of Modern Art.
*Beatriz González. (1984). Exposición Retrospectiva 1962-1984, Museo de Arte Moderno, Bogotá.  
*Beatriz González. (1984). Exposición Retrospectiva (Retrospective Exhibition) 1962-1984, Bogotá: Museum of Modern Art.
*Rubiano, G., y Rodríguez, M. (1990). Beatriz González, una década 1980-1990, Bogotá: Museo de Arte Universidad Nacional.
*Rubiano, G., and Rodríguez, M. (1990). Beatriz González, una década (a decade) 1980-1990, Bogotá: National University Art Museum.
*Traba, M. (1977). Los muebles de Beatriz González. Bogotá: Museo de Arte Moderno.
*Traba, M. (1977). Los muebles de Beatriz González (The furniture of Beatriz González). Bogotá: Museum of Modern Art.
*Ponce de Leon, C., y otros. (1998). Beatriz González, una pintora de provincia. Bogotá, Carlos Valencia Editores.
*Ponce de Leon, C. et al. (1998). Beatriz González, una pintora de provincia (a provincial painter). Bogotá, Carlos Valencia Editores.
* González, B. (2008). Visiones paródicas: risas, demonios, jocosidades y caricaturas. Revista de Estudios Sociales, 30, pp. 72-79.  
*González, B. (2008). Visiones paródicas: risas, demonios, jocosidades y caricaturas (Parodic visions: laughter, demons, jokes, and caricatures). Revista de Estudios Sociales, 30, p. 72-79.
* Gutiérrez, N. (2016). Arte colombiano años noventa. Credencial Historia, 319.  
*Gutiérrez, N. (2016). Arte colombiano años noventa (Colombian art 1990s). Credencial Historia, 319.
* Laverde, M.C. (1999). Desplazamientos, decisiones y tránsitos en la obra de Beatriz González. Revista Nómadas, 10, pp. 108-122.
*Laverde, M.C. (1999). Desplazamientos, decisiones y tránsitos en la obra de Beatriz González (Displacements, decisions, and transits in the work of Beatriz González). Revista Nómadas, 10, p. 108-122.
 
==Art collection of the Banco de la República==
 
*Visit Beatriz Gonzales artwork in [https://banrepcultural.org/coleccion-de-arte/obra/square-el-cuadrado-ed-15-ap5507 Art Colection]


==Colección de arte del Banco de la República==
==Credits==
*Visite 57 obras de arte de Beatriz González en [https://www.banrepcultural.org/coleccion-de-arte/artista/beatriz-gonzalez Colección de arte]


==Créditos==
1.Research and text Germán Rubiano Caballero for Banrepcultural
1. Investigación y texto Germán Rubiano Caballero para Banrepcultural


2. Actualización y ampliación: Oscar Rodríguez, mediador de los Museos y Colecciones del Banco de la República.
2.Updates and expansion: Oscar Rodríguez, mediator of the Banco de la República Museums and Collections


[[Categoría:Pintor]] [[Categoría:Historiador]][[Categoría:Grabador]][[Categoría:Crítico de arte]][[Categoría:Mujer]][[Categoría:Nacidos en Colombia]][[Categoría:Nacidos en Santander]][[Categoría:Mujeres Notables]]
[[Categoría:Pintor]] [[Categoría:Historiador]][[Categoría:Grabador]][[Categoría:Crítico de arte]][[Categoría:Mujer]][[Categoría:Nacidos en Colombia]][[Categoría:Nacidos en Santander]][[Categoría:Mujeres Notables]]

Revisión actual - 09:32 17 sep 2021

Otros idiomas:
Beatriz González
Error al crear miniatura: Falta archivo
Fotografía de Beatriz González, tomada por Hernán Díaz. Archivo BLAA.
Datos generales
Nombre Beatriz González Aranda
Fecha de nacimiento 16 de noviembre de 1932
Nacionalidad Colombiana Bandera de Colombia }}
Ocupación Pintora, grabadora, historiadora y crítica de arte
Primaria Colegio de las Franciscanas de Bucaramanga.
Bachillerato Colegio de las Franciscanas de Bucaramanga.
Estudios universitarios Estudió artes con Juan Antonio Roda en la Universidad de los Andes e hizo un curso de grabado en la Rijksakademie van beeldende kunsten de Rotterdam.
País de nacimiento Colombia, Bandera de Colombia }}
Ciudad de nacimiento Bucaramanga
Familia Valentín González (Padre), Clementina (Aranda),Jorge (Hermano), Lucila (Hermana)


Beatriz González Aranda, Colombian artist, historian, and art critic, was born in the city of Bucaramanga, capital of the department of Santander, on November 16, 1932[1]. She studied art at the Universidad de los Andes with Juan Antonio Roda and took a course in printmaking at the Academie van Beeldende Kunsten in Amsterdam. Her work is technically prolific and diverse, although her work in painting is noted, and her themes are restricted to popular images and the political and social dimensions of recent Colombian history. Since the 1980s she has carried out important research on the history of Colombian art in the 19th and 20th centuries, contributing new knowledge on figures such as José María Espinosa, Ramón Torres Méndez, Roberto Páramo, José Gabriel Tatis, Fídolo Alfonso González Camargo, and Luis Caballero Holguín, and also reconstructing the trajectory of caricature in the country. Her work has been key to the consolidation of the institutions of art in Colombia, through her leadership and advisory to several museums in Bogotá on curatorial processes, education, and acquisition. Her work has been shown in individual and collective exhibitions at the national and international level and has been the object of multiple tributes and awards.

Biography

Beatriz González Aranda was the third daughter of Clementina Aranda Mantilla and Valentín González Rangel, a politician from Barichara. She was born on November 16, 1932 in Bucaramanga, Santander, and studied at the Franciscan School of the Holy Trinity. In 1956 she entered Colombia’s National University in Bogotá to study architecture with three other women. Two years later she decided to suspend her studies, returned to Bucaramanga and worked designing window displays and sets for parades. She returned to Bogotá in 1959 to take a course at the Universidad de América on the Renaissance in Italy, taught by Marta Traba. That same year she enrolled in the fine arts program at the Universidad de los Andes with an interest in becoming a graphic designer.

During her stay at university, she took classes with Juan Antonio Roda, Marta Traba, and Ramón de Zubiría, among others.[2]Marta Traba shared with González her interest in the work of Fernando Botero, a central influence during this period of early training. The Universidad de los Andes provided her with an alternative space in which she set up her studio with other classmates and developed her work, which influenced her final decision to become an artist. During this period, she also established a deep friendship with the painter Luis Caballero.

Her interest in printed images and the search for a style of her own began in painting classes with Juan Antonio Roda: "I realized that I could not paint from natural models [...] although I was a good draughtswoman, I couldn’t paint in those colors, it seemed horrible to me [...] I found a poster of the Surrender of Breda and I copied it with a lot of turpentine, very watered down, and that was a success and that’s how I began." Shortly after graduating in 1963, she was chosen as one of the first young artists to have a solo exhibition at MAMBO, the Bogotá Museum of Modern Art, thanks to a program of the museum, organized by Marta Traba, dedicated to showing the work of new talent.

González began to wonder how real the reproductions in art books were, and from that her interest in the imperfections of the printed image was born. Tired of producing variations on Velázquez and Vermeer, she happened upon the photograph of the Sisga suicides in the newspaper. In 1965, she presented the painting derived from this image at the XVII National Artists’ Salon. The work was initially rejected "because a member of the jury said it was a bad Botero." However, the decision was reconsidered and the work ended up receiving the second special jury award. From that moment on, Beatriz González began to take an interest in local tragedies through the media. She also ventured into materials beyond the classic instruments of painting: "One day I got tired of oil, of canvas, of fine materials.” Although critics constantly referred to Beatriz González as a pop artist, she always made it clear that Warhol did not interest her at the time; she preferred abstract expressionism.

After studying for a year at the Academie van Beeldende Kunsten in the Netherlands in 1966, González returned to Colombia and began her most characteristic work, that depicting "the heroes of Colombia's long history, the portraits of ‘decent’ families that were published in the newspapers, episodes from the social pages and the crime report, naive scenes painted on buses, popular stamps and stickers for sale at the Pasaje Rivas." Her works Notes for an Extensive History of Colombia I and II (Apuntes para la historia extensa de Colombia I y II) earned her the second prize in the XIX National Artists’ Salon in Colombia and unleashed a confrontation with the historian Arturo Abella, who considered her work a mockery and a knockoff, whereas Beatriz considered it a "version" of the portraits produced during the wars of independence.

In addition to painting, Beatriz González has been a curator, teacher, art critic, and art historian. As she explained in the interview with Hans Ulrich Orbist, "I paint part-time and write part-time." As a historian, she has published Ramón Torres Méndez, entre lo pintoresco y la picaresca (between the picturesque and the picaresque) (1985), Roberto Páramo, pintor de la sabana (painter of the savannah) (1986), José Gabriel Tatis, un pintor comprometido (a committed painter) (1987), Fidolo Alfonso González Camargo (1987), Las artes plásticas en el siglo xix (visual arts in the 19th century) in the Great Encyclopedia of Colombia (1993), José María Espinoza: abanderado del arte en el siglo XIX (standard bearer of art in the 19th century) (1998), Andrés de Santa María: un precursor solitario (a lonely forerunner) (1998), Artistas en tiempos de guerra: Peregrino Rivera Arce (Artists in times of war: Peregrino Rivera Arce) (1999), ¡Quédese quieto! (Stand still!) Gaspard-Félix Tournachon “Nadar” (Swim) (1995), Auguste Le Moyne en Colombia 1828-1841 (Auguste Le Moyne in Colombia 182801841) (2003), Manual de Arte en el Siglo XIX en Colombia (Manual of Art in the 19th century in Colombia) (2013), Pobre de mí, no soy sino un triste pintor: cartas de Luis Caballero a Beatriz González (Poor me, I am but a sad painter: letters from Luis Caballero to Beatriz González) (2014), and other works. She was curator of the art and history collections at the National Museum for fourteen years, director of education at the Bogotá Museum of Modern Art for thirteen years, and has been an advisor to the art collections of the Banco de la República since 1985.

Artistic career

Beginnings

In 1964, González presented work for the first time in Bogotá with an exhibition on The Lacemaker by the seventeenth century Dutch painter Jan Vermeer. Her work was characterized by vivid colors, and harmonious planes and compositions. A year later in 1965 came the variations on The Girl-Montage (La niña-montaje), in which she reaffirmed her chromatic refinement. She also produced two versions of the work The Sisga Suicides (Los suicidas del Sisga)[3]from a press photograph, winning her second special jury prize in painting at the XVII National Artists’ Salon in 1965.

During the 1970s, Beatriz González once again set a precedent in the history of Colombian art by introducing new materials into her works: this time furniture and curtains. President Julio César Turbay was, at the beginning, one of the leading subjects of González’s work: "I painted Turbay in the Baseboard of Tragedy (zocalo de la tragedia) and the Baseboard of Comedy (zocalo de la comedia), works in which I wanted to say that this country moved between crime and decoration." The themes developed in her painting began to turn more and more towards Colombia's political world.[4]

From the 1980s onwards, after the siege of the Palace of Justice and the recruitment of her son by the army, her work focused more on pain: "The news is temporary; in a way, the artist's job is not to allow death and pain to be forgotten." In order to cover these themes, González decided to return to oil painting, making "chaotic and symbolic" compositions. According to the artist, whenever she felt uneasy about what she was painting, she made ethical corrections to the work.

During the 1990s, political interest in Beatriz González's work focused on the victims of the armed conflict. One of the news pieces she developed into an artwork during this period was that of the drowned, no-name “NN” corpses cast into rivers. Later she worked on the massacre of Las Delicias in 1997 and the suffering of women in the series Dolores. In 2010, documentary filmmaker Diego García Moreno made Beatriz González, Why Are You Crying? (Por qué llora si ya reí), a film that shows the process of making the work Anonymous Auras (Auras Anónimas), an intervention on four columbaria, still preserved in the Central Cemetery of Bogotá, which to date is the only place of memory dedicated to the anonymous victims of the violence unleashed in the capital city in April 1948 after the assassination of Jorge Eliécer Gaitán. The work has brought the artist into a legal conflict with the district administration over the need to protect a space for memory in contravention of urban renewal plans that would destroy parts of the columbaria in order to carry out public works. Her artwork The Sisga Suicides (Los Suicidas del Sisga) turned 50 in 2015, and coincidentally all three of its versions were exhibited at the Tate Modern that same year, as well as in other large retrospectives in the following years. The Sisga Suicides has turned out to be a central work in Colombian art history, guiding the development of other artists such as Maria de la Paz Jaramillo who has recognized in González’s piece the source of her interest in press images

Features of her work

In all her work, Beatriz González alludes not only to a way of being, to a particular idiosyncrasy, but also to the taste of the people, which the artist treats as a sociologist, although she does not fail to include a dose of irony regarding the country and the Colombian people. Parallel to these works made from press photographs and popular stamps.

Beatriz González has worked on numerous versions of works by great masters, from Vermeer's The Lacemaker to Pablo Picasso's Guernica, which she called Mural for a Socialist Factory. The artist has produced variations on Leonardo da Vinci, Raphael, Sandro Botticelli, Jean-Auguste Dominique Ingres, Jean-Francois Millet, Paul Cézanne, Paul Gauguin, Edgar Degas, Pierre-August Renoir, Georges Braque, and others. Two factors have led Beatriz González to work with famous works from the history of painting: her inability to compose and her admiration for artwork. The painter confesses to having a prejudiced vision of art history. Thus, for instance, the image of Botricelli's Birth of Venus emerges from some towel racks in the shape of a shell; from a striped sheet of MadeFlex, a still life by Braque; from a hairbrush with a circular mirror, a tondo by Raphael.

This reworking of images, which was even criticized as an act of copying by historian Arturo Abella, is now considered a form of visual appropriation for the production of a new and authentic work, as proposed by the exhibition Beatriz González: The Second Original (Beatriz González: el segundo original) held at the Universidad de los Andes and La Tertulia Museum of Modern Art. Part of this originality lies in the fact that González initially related to these great works of art indirectly, through the reproductions found in postcards, encyclopedias, and art books that were difficult to come across at the time, which led her to declare that Colombia had denied its relationship to culture because of its underdevelopment.

Working on surfaces of varied materials and textures (metal sheets, various woods, towels, rubber, bedspreads, etc.), González had to constantly invent new ways of making art. The exploration of techniques and materials has resulted in some cases from the critiques leveled at her, as when her university classmates told Beatriz that she was a poor draughtswoman but a good painter. Leaning on that judgment, the artist made incursions into media such as serigraphy, heliography, and painting on furniture and objects, turning imperfection into an intention. Her interest in the taste of common folk led her to places like Pasaje Rivas in Bogotá, where she acquired popular objects for producing her works. Beatriz González has not only mastered each of the techniques—including oils, glazes, and acrylics—but she also works with a very wide range of colors. She has remarked that hers is a "painting with temperature," sensitive to the emotional tone of the contents that she approaches, from an initial palette inspired by the dome of Church of the Holy Family in Bucaramanga to a dark palette that denotes the somber character of the turn of the century in a society ravaged by sociopolitical violence.

From her numerous works depicting to the figure of President Julio Cesar Turbay (graphite drawings, the silkscreen printing Interior Decoration [Decoración de interiores]), to her dramatic versions of the death of the drug dealer Gonzalo Rodriguez Gacha (Mute Portraits [Retratos mudos]), to Las Ibáñez, the tragedy vignettes (Uxoricide [Un uxoricidio]) and the comedy vignettes (Turbay Decorating a Personality [Turbay condecorando a un personaje]), the themes related to the presidents of the Republic (Colombian Headdress [Plumario colombiano], The Parrots [Los papagayos], Mr. President What an Honor to Be With You at This Historical Moment [Sr. Presidente qué honor estar con Ud. en este momento histórico], an allusion to the events surrounding the taking of the Palace of Justice in 1985), the cyclist Martin Emilio "Cochise" Rodriguez, the cyclist Lucho Herrera and his apotheosis with President Virgilio Barco, the footballer Rene Higuita, the soldiers dressed for war, the murdered men, and so many others. There is at this point a deep and exclusive interest in all things Colombian, both from historical and contemporary perspectives.

But the change is not merely thematic; it is also formal and substantive. The handling of the formal elements (planes, colors, compositions) is now more complex and starker and the intention is to give account, through those elements, of how chaotic and dramatic the situation is, more concise and swifter. On the occasion of the Fifth Centennial of the discovery of America in 1992, Beatriz González made a series of silkscreen prints of an indigenous person in a boat. Besides from her paintings and drawings, González has extensively produced prints [See Volume 6, Arte, p. 130 and 131].

"My painting is not the search for an end through ironic themes, but rather a painting with temperature. I don't make cheesy or corny objects with the same kind of morbidity that moves certain people to collect objects in so-called bad taste. I don’t think the society in which I work is a cheesy society, but it is an excessive one, in every sense and proportion. [...]
What interests me is taste. I am interested in why a person places certain objects and not others in their home. If I had been but a conceptual artist, since 1970 I would have put up a card saying: go and see so-and-so’s house. And another one: go and see so-and-so's house. But since I'm an old-fashioned artist, I need to paint and I paint. I wonder why the hell the picture of the suicides in the newspaper caught my attention. Was it the grayness of the face, similar to some work I was doing at the time, or was it that folksy thing of two people entering into a suicide pact and joining hands for a photo to send to their relatives? But no, it can’t be that because I read about it later. It was the photo itself, the hat he was wearing, anyway [...]
In me there is a predisposition to look at people's taste.
Beatriz Gonzalez

In addition to her artistic output, González has compiled a vast archive over the years that traces, among various other topics, the careers of various notable artists of the second half of the twentieth century as well as the most important events of recent Colombian history. Her artistic projects since the nineties have discussed the relationship between the Colombian people and press images of violence and mourning over the murders, kidnappings, disappearances, and forced displacements, using repetition as a visual exercise that questions indifference and habituation in the face of constant tragic war scenes. Her work proposes exercises of memory that seek to make evident the unmentioned and silenced episodes of the armed conflict through the graphic techniques of serial reproduction, or else through painting that preserves the symbols of violence in the face of the ephemerality of the press image. Her most recent production also investigates the victimization of the civilian population on account of other events such as natural disasters and the humanitarian crisis of Venezuelan citizens moving through Colombian territory after fleeing the harsh political and economic conditions of the last decade in the neighboring country.

  • 2019: Study for War and Peace (Estudio para telones La guerra y la paz)
  • 2017: Displacement Recto and Verso (Desplazamiento anverso y reverse)
  • “Elemental Landscapes (Paisajes elementales)
  • 2015: Zulia, Zulia, Zulia
  • 2012 - 2011: Comedy and Tragedy (La comedia y la tragedia)
  • 2010: Endless Alonso Garcés Gallery (Sinfin Alonso Garcés Galería)
  • 2009: Furtive Letter (Carta Furtiva)
  • 2008: Rancho Grande Radio (Ondas de rancho grande)
  • 2007-2009: Anonymous Auras (Auras anónimas)
  • 2006: Where Clarity Itself is Shade, recent work (Donde la misma claridad es sombra Obra reciente)
    • "Vistahermosa"
  • 2005: Anthology accompanying the launch of Beatriz González’s book
  • 2004: The Instant Image I (La imagen instantánea I)
  • 2003: Verónica.
  • 2002: Wallpaper (Papel de colgadura)
  • 2001: Dolores, recent work (Dolores. Obra reciente)
  • 2000: Beatriz González
    • "Dolores"
  • 1998: What an Honor to Be With You at This Historical Moment (Qué honor estar con usted en este momento histórico)
  • 1997: Self-Portrait, Nude, Crying (Autorretrato desnuda llorando)
  • 1997: Las Delicias
  • 1996: Thirty Years of Graphic Work by Beatriz González (Treinta años en la obra gráfica de Beatriz González)
  • 1995: The Color of Death (El color de la muerte)
  • 1994: Beatriz González Retrospective (Beatriz González. Retrospectiva)
  • 1992: 1/500 Drawing, Painting, Silkscreen (1/500. Dibujo, pintura, serigrafías)
  • 1991: The Constituent Assembly (La Constituyente)
  • 1990: Beatriz González, A Decadev1980-1990 (Beatriz González. Una década)
  • 1984: Beatriz González Retrospective (Beatriz González. Retrospectiva)
  • 1983: National Identity (Identidad nacional)
  • 1980: Color Television (Televisión en colores)
  • 1979: Beatriz González’s Curtains (Los telones de Beatriz González)
  • 1978: Ten Meters of Renoir (Diez metros de Renoir)
  • 1976: Retrospective—An Inventory (Retrospectiva - Un inventario)
  • 1964: Lacemakers (Encajeras)

Works by Beatriz González in the Collections of the Banco de la República

Works by Beatriz González in the Collections of the Banco de la República
Title Year Location Technique Registration number
My Struggle (Mi lucha) 1974 Reserve Print AP3598
Archbishop Viceroy as Salome (El arzobispo virrey como Salomé) 1981 Reserve Print AP1174
Funeral Mound for Adolescent Soldiers (Túmulo funerario para soldados bachilleres) 1986 Reserve Print AP3610
Living Nature II (Naturaleza viva II) 1969 Reserve Painting AP2163
Tapen tapen 1994 Reserve Painting AP2746
Alcibiadillo de Colombia... Tragic Death. Impressive Scene in the Middle of the San Martín Furniture Store. The Body of the Homeless Bullfighter Murdered Yesterday by the Underworld. (Alcibiadillo de Colombia... muerte trágica. Impresionante escena en pleno salón de la mueblería "San Martín". El cadáver del torero indigente asesinado por el hampa ayer. ) 1970 Reserve Print AP3580
Korean Veteran Kills Mother-In-Law, Wife, Then Kills Himself (Veterano de Corea mata a la suegra, a la esposa y luego se suicida) 1968 Reserve Print AP3581
Oh! Mamacita, when you bury me, please dress me in the yellow suit and tie I bought recently, something that makes me feel so happy at the moment…(Oh!, mamacita, cuando me vayan a enterrar le agradezco que me visten con el traje amarillo y la corbata que compró en estos días, cosa que me sienta en ese momento el pavito más contento de mi vida...)(Complete title in the Asoc. document) 1969 Reserve Print AP3582
One of the Antisocials Killed Yesterday was Disguised as a Motorcyclist but was Covering his Uniform with a Raincoat (Disfrazado de motorista de circulación pero cubriendo el uniforme con una gabardina iba uno de los antisociales muertos ayer) 1978 Reserve Print AP3156
Amparito's Graphic Shows How the Body of the Unfortunate Old Man Catalino Díaz Izquierdo was Found (La gráfica de Amparito muestra la forma como fue hallado el cadáver del desafortunado anciano Catalino Díaz Izquierdo) 1968 Reserve Print AP3584
Harakiri in the Middle of the Street (Harakiri en plena calle) 1970 Reserve Print AP3585
Woman Murdered in a Lodge, it hasn’t been possible to identify her (Asesinada mujer en hospedaje, no ha sido posible identificarla) 1969 Reserve Print AP3586
The Happiness of Pablo Leyva: IV. I Am a Bricklayer (La felicidad de Pablo Leyva: IV. Yo soy albañil) 1977 Reserve Print AP3587
The Happiness of Pablo Leyva: V. I Am a Nurse (La felicidad de Pablo Leyva: V. Yo soy enfermera) 1977 Reserve Print AP3588
The Happiness of Pablo Leyva: III. I Am a Teacher (La felicidad de Pablo Leyva: III. Yo soy maestra) 1977 Reserve Print AP3589
Rembrandt Self-Portrait, Copy (Autorretrato Rembrandt-copia) 1966 Reserve Print AP3590
González Postcards: Soviet-Colombian Relations Resumed (Postales González. Se reanudan relaciones Colombo Soviéticas) 1978 Reserve Print AP3591
González Postcards: Blackberry Milkshake (Postales González. Mora en leche) 1978 Reserve Print AP3592
González Postcards: The Visual Arts Biennial (Postales González. La bienal de artes plásticas) 1978 Reserve Print AP3593
Happy birthday 1971 Reserve Print AP3594
The Other Face of Ludwig Van (La otra cara de Ludwig Van) 1973 Reserve Print AP3595
The Church is in Danger (La iglesia está en peligro) 1976 Print Painting AP3596
Jackeline Oasis 1975 Reserve Print AP3597
Stamp in Memory (Cromo in memoria) 1976 Reserve Print AP3599
Illustrated News (La actualidad ilustrada) 1974 Reserve Print AP3600
The Time Has Come (Ya llegó la fecha) 1977 Reserve Print AP3601
The Setbacks of Royalty (Los reveses de la realeza) 1974 Reserve Print AP3602
The Concordat (El concordato) 1993 Reserve Print AP3603
Blue Bolívar (Bolívar azul) 1983 Reserve Print AP3604
Red Bolívar (Bolívar rojo) 1983 Reserve Print AP3605
Yellow Bolívar (Bolívar Amarillo) 1983 Reserve Print AP3606
Baseboard of Comedy (Zócalo de la comedia) 1983 Reserve Print AP3607
Baseboard of Tragedy (Zócalo de la tragedia) 1983 Reserve Print AP3608
Colombian Headdress (Plumario colombiano) 1983 Reserve Print AP3609
Funeral Mound for Adolescent Soldiers (Túmulo funerario para soldados bachilleres) 1986 Reserve Print AP3610
Lucky Rabbit Island (La isla del conejo de la suerte) 1993 Reserve Print AP3611
Uxoricide (Uxoricidio ) 1984 Reserve Print AP3612
Lucho and Bachué (Lucho y Bachué) 1987 Reserve Print AP3613
Interior Decoration (Decoración de interiores) 1981 Reserve Print AP3614
This Biennial is a Luxury that an Underdeveloped Country Should not Afford Itself (Esta bienal es un lujo que un país subdesarrollado no se debe dar) 1981 Reserve Print AP3615
The Time Has Come II (Ya llegó la fecha II) 1979 Reserve Print AP3616
Porfirio 1983 Reserve Print AP3617
Viva México 1979 Reserve Print AP3618
Colombian Still Life (Bodegón colombiano) 1983 Reserve Print AP3619
Yubilí 1979 Reserve Print AP3620
1/500 1992 Reserve Print AP3621
Tales for City Kids (Cuentos para citaniños) 1973 Reserve Print AP3622
Mute Portraits (Retratos mudos) 1990 Reserve Painting AP4236
Tears and Fish (Lágrimas y peces) 1997 Reserve Painting AP4243
Kennedy (John Fitzgerald), American Democratic politician (1917-1963), president of the United States in 1961. He was assassinated. (Kennedy (John Fitzgerald), político demócrata norteamericano (1917-1963), presidente de los Estados Unidos en 1961. Murió asesinado.) 1971 Reserve Painting AP5024
Sun Maid 1974 Reserve Painting AP5289
Death of a Picador (La muerte del picador) 1973 Reserve Painting AP5320
Window Ajar (Ventana entreabierta) 2001 Reserve Painting AP6190

Timeline

  • 1932: Born in the city of Bucaramanga, Santander, to Valentín González Rangel and Clementina Aranda Mantilla. Younger sister of Jorge and Lucila.
  • 1948: Study at the Franciscan School of Bucaramanga.
  • 1956: Arrives in Bogota to study architecture at Colombia's National University. After two years decides to switch degrees.
  • 1958: Travels to Bucaramanga and designs window displays and sets for parades.
  • 1959: Returns to Bogotá and enters the Faculty of Arts at the Universidad de los Andes.
  • 1962: Graduates and holds an exhibition with colleagues Camila Loboguerrero and Gloria Martínez.
  • 1964: Holds first exhibition thanks to a program promoted by the Bogotá Museum of Modern Art, dedicated to showcasing new talent. Obtains a mention in the First Intercol Salon.
  • 1965: The Sisga Suicides (Los Suicida del Sisga) is rejected by the admission jury for the XVII National Artists' Salon. The decision is reconsidered and the work obtains the second special jury prize.
  • 1966: Travels to Amsterdam, the Netherlands, to take a course in engraving at the Academie van Beeldende Kunsten.
  • 1969: Her work It's a Copy (Es Copia) is rejected at the XX Salon of Colombian Artists. She obtains a prize in the Southern Engraving Salon.
  • 1970: Begins her period as director of education at the Bogotá Museum of Modern Art, a position she held until 1983.
  • 1971: Selected by the Colombian Institute of Culture as Colombia's representative to the XI Biennial of Sao Paulo, Brazil.
  • 1973: Exhibits her furniture alongside Luis Caballero at the Bogotá Museum of Modern Art.
  • 1976: Ends furniture work and begins experimenting with textile surfaces.
  • 1978: Launches the guide school of the Museum of Modern Art. She is selected for the 28th Venice Biennale.
  • 1980: Her work becomes political during the administration of president Turbay Ayala.
  • 1985: Begins working as a member of the Banco de la República advisory board for visual arts.
  • 1990: Becomes curator of the art and history collections of Colombia's National Museum. Receives an extraordinary mention at the XXXIII National Artists' Salon for her career.
  • 1993: Exhibition For the Humor of Art (Por humor al arte) at the Luis Angel Arango Library, Bogotá.
  • 1996: Traveling exhibition by Banco de la República
  • 1997: Individual exhibition on the Las Delicias massacre at the Garcés Velásquez Gallery in Bogotá.
  • 1998: Retrospective exhibition What an Honor to Be With You at This Historical Moment (Qué honor estar con usted en este momento histórico) at el Museo del Barrio, New York.
  • 2000: Named honorary master of visual arts by the University of Antioquia.
  • 2001: Produces Dolores, an exhibition based on the images of the pro-indigenous American killed by the guerrillas.
  • 2004: Retires from her position as curator of Colombia's National Museum.
  • 2006: Honored with "Life and Work" award by the Ministry of Culture.
  • 2009: Curator and researcher of the exhibition La caricatura en Colombia a partir de la Independencia at Banco de la República.
  • 2010: The documentary filmmaker Diego García Moreno releases the film Beatriz González, Why Are You Crying? documenting the process of making Anonymous Auras (Auras Anónimas).
  • 2011: Retrospective exhibition at the Medellín Museum of Modern Art.
  • 2013: Universidad de los Andes publishes the book Manual de arte del siglo XIX, written by Beatriz González.
  • 2014: Publishes the book Pobre de mí, no soy sino un triste pintor, collection of correspondence with Luis Caballero.
  • 2015: Her work The Sisga Suicides turns 50. She exhibits the three versions of the work at the Tate Modern.
  • 2016: Exhibition at the La Tertulia Museum in Cali
  • 2017: Retrospective exhibition at the Museum of Contemporary Art in Bordeaux.
  • 2019: The Perez Art Museum in Miami (PAMM) and the Museum of Fine Arts, Houston (MFAH) hold a major retrospective of Beatriz González's work.
  • 2020: University of the Andes awards her an honorary doctorate for her contributions to art and art history in Colombia. The Banco de la República pays tribute to the artist with the exhibition Beatriz González

See also

References

  1. ↑ [*] Her year of birth has recently been rectified by researchers Natalia Gutiérrez Montes and José Ruiz Díaz in the curatorial process behind the Banco de la República retrospective in 2020
  2. ↑ Alonso Garcés Gallery. Beatriz González. http://www.alonsogarcesgaleria.com/BGonzalez.htm
  3. ↑ ‘Los suicidas del sisga’ cumplen 50 años (The Sisga Suicides Turn 50) https://www.semana.com/cultura/articulo/los-suicidas-del-asista-por-beatriz-gonzalez/440364-3
  4. ↑ Germán Rubiano Caballero. Biography of Beatriz González. Great Encyclopedia of Colombia of the Circle of Readers, Biographies Volume. Editorial El Tiempo.

Bibliography

  • Ardila, J. (1974). Apuntes para la historia extensa de Beatriz González. Bogotá: Tercer Mundo.
  • Serrano, E. (1976). Beatriz González. Cali: La Tertulia Museum of Modern Art.
  • Beatriz González. (1984). Exposición Retrospectiva (Retrospective Exhibition) 1962-1984, Bogotá: Museum of Modern Art.
  • Rubiano, G., and Rodríguez, M. (1990). Beatriz González, una década (a decade) 1980-1990, Bogotá: National University Art Museum.
  • Traba, M. (1977). Los muebles de Beatriz González (The furniture of Beatriz González). Bogotá: Museum of Modern Art.
  • Ponce de Leon, C. et al. (1998). Beatriz González, una pintora de provincia (a provincial painter). Bogotá, Carlos Valencia Editores.
  • González, B. (2008). Visiones paródicas: risas, demonios, jocosidades y caricaturas (Parodic visions: laughter, demons, jokes, and caricatures). Revista de Estudios Sociales, 30, p. 72-79.
  • Gutiérrez, N. (2016). Arte colombiano años noventa (Colombian art 1990s). Credencial Historia, 319.
  • Laverde, M.C. (1999). Desplazamientos, decisiones y tránsitos en la obra de Beatriz González (Displacements, decisions, and transits in the work of Beatriz González). Revista Nómadas, 10, p. 108-122.

Art collection of the Banco de la República

Credits

1.Research and text Germán Rubiano Caballero for Banrepcultural

2.Updates and expansion: Oscar Rodríguez, mediator of the Banco de la República Museums and Collections


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