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Revisión del 11:10 13 sep 2021

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Definición del mensaje (Teresa Cuéllar “Teyé”)

“''Teyé''” es el sello artístico que '''Teresa Cuéllar''' eligió para abreviar su firma cuando se hacía necesario incluir su apellido de casada. Por sugerencia de [[Fernando Botero ]], con quien comenzó a relacionarse a sus 22 años, la artista pensó en fórmulas para hacer su nombre “''plásticamente válido''” y encontró identidad en las reminiscencias de uno de sus apelativos de la infancia.
Su vínculo con el arte inicia en la niñez con la práctica del dibujo y se robustece con la formación académica en academias de arte y clases privadas. Desde su juventud contó con gran reconocimiento en el circuito artístico colombiano participando en exposiciones colectivas y certámenes internacionales, e incluso contando con muestras retrospectivas desde la primera década de su carrera. El arte colombiano la destaca como una de las más importantes pintoras, dibujantes y artistas gráficas de la segunda mitad del siglo XX.
Por intermediación de [[Fernando Botero]] y [[Gloria Zea]], en los años cincuenta Teyé conoció al escritor [[Antonio Montaña Mariño]] (1932-2013), con quien se casó después de un año de intercambiar correspondencia <ref>Entrevista con Gloria Valencia en el Programa Correo Especial, emisión abril 22 de 1992. Director: Rodrigo Castaño. https://www.youtube.com/watch?v=VH676Px_r64</ref> . En una relación de mutua colaboración, Teyé participó como ilustradora en varios proyectos editoriales relacionados con la cocina colombiana y española, desarrollados por Montaña: La comida en la edad de oro española (1974), Cocina cundinamarquesa (1980) y La dicha de cocinar (1994). A su vez, el escritor comentó la obra de su esposa con ocasión de varias exposiciones en museos y galerías, así como la trayectoria de otros artistas como Hernando Tejada, amigo entrañable a quien dedicó uno de sus libros.
Los aportes de Teresa Cuéllar al campo cultural trascienden su obra plástica. La artista ha contribuido a la reconstrucción de una parte importante de la historia del arte de finales del siglo XIX y comienzos del siglo XX en Colombia, al conservar durante años un conjunto de álbumes pertenecientes al pintor y grabador colombiano [[Ricardo Moros Urbina]] (1865-1942), los cuales contienen gran cantidad de apuntes, dibujos, estudios y grabados. La donación de este acervo al Archivo General de la Nación permitió a [[Paula Jimena Matiz]] y [[María Constanza Villalobos]] entregar al país una completa investigación sobre la obra de Moros Urbina en una publicación del Instituto Distrital de Patrimonio Cultural IDPC de Bogotá. También con motivo de esta donación, el Archivo General abrió al público en el 2019 la exposición “''Dos cronistas de Bogotá. Un encuentro histórico''”, en la que se mostraron en diálogo algunos textos de [[José Maria Cordovez Moure]] (1835-1918) y dibujos de Moros Urbina recreados por la artista [[Angie Vega]] en los muros y ventanas de la exposición.

“Teyé” is the artistic name that Teresa Cuéllar chose in order to abbreviate her signature when it was necessary to include her married name. At the suggestion of Fernando Botero, with whom she began to interact at the age of 22, she thought of ways of making her name “visually valid” and found an identity in the memories of one of her childhood nicknames. Her relationship with art began in childhood with the practice of drawing, and was strengthened through academic training in art academies and private classes. Since her youth, she was widely acknowledged on the Colombian art circuit, participating in international group exhibitions and contests, and even holding retrospective shows from the first decade of her career. She is held up in Colombian art as one of the most important painters, sketchers and graphic artists of the second half of the 20th century. In the 1950s, through Fernando Botero and Gloria Zea,, Teyé met the writer Antonio Montaña Mariño (1932-2013) and married him after a year of exchanging correspondence^[1]. In a relationship of mutual collaboration, Teyé participated as an illustrator in several publishing projects related to Colombian and Spanish cuisine that were developed by Montaña: La comida en la edad de oro española (Food in the Spanish Golden Age; 1974), Cocina cundinamarquesa (Cundinamarca Cuisine; 1980) and La dicha de cocinar (The Joy of Cooking; 1994). In turn, Montaña provided commentary on his wife’s work for various exhibitions in museums and galleries, and on the career of other artists such as Hernando Tejada, a close friend to whom the writer dedicated one of his books. Teresa Cuéllar’s contributions to the cultural sphere transcend her artistic work. She aided in the reconstruction of an important part of the history of art in the late 19th and early 20th centuries in Colombia, by keeping for many years a series of albums belonging to the Colombian painter and printmaker Ricardo Moros Urbina (1865-1942) that contain large amounts of notes, drawings, studies and prints. The donation of this heritage to the Colombian General Archive enabled Paula Jimena Matiz and María Constanza Villalobos to provide the country with a complete investigation into the work of Moros Urbina in a publication by the District Institute of Cultural Heritage (IDPC). Additionally, as a result of the donation, in 2019 the General Archive opened an exhibition to the public entitled “Dos cronistas de Bogotá. Un encuentro histórico” (Two chroniclers of Bogotá: a historic encounter), which displayed various texts by José María Cordovez Moure (1835-1918) in juxtaposition with drawings by Moros Urbina recreated by the artist Angie Vega on the walls and windows of the exhibition.

↑ Interview with Gloria Valencia for the program Correo Especial, broadcast on April 22, 1992. Director: Rodrigo Castaño. https://www.youtube.com/watch?v=VH676Px_r64

[1] Interview with Gloria Valencia for the program Correo Especial, broadcast on April 22, 1992. Director: Rodrigo Castaño. https://www.youtube.com/watch?v=VH676Px_r64

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@@ Línea 1: / Línea 1: @@
-“''Teyé''” “Teyé” is the artistic name that Teresa Cuéllar chose in order to abbreviate her signature when it was necessary to include her married name. At the suggestion of Fernando Botero, with whom she began to interact at the age of 22, she thought of ways of making her name “visually valid” and found an identity in the memories of one of her childhood nicknames.
+“''Teyé''” is the artistic name that Teresa Cuéllar chose in order to abbreviate her signature when it was necessary to include her married name. At the suggestion of Fernando Botero, with whom she began to interact at the age of 22, she thought of ways of making her name “visually valid” and found an identity in the memories of one of her childhood nicknames.
 Her relationship with art began in childhood with the practice of drawing, and was strengthened through academic training in art academies and private classes. Since her youth, she was widely acknowledged on the Colombian art circuit, participating in international group exhibitions and contests, and even holding retrospective shows from the first decade of her career. She is held up in Colombian art as one of the most important painters, sketchers and graphic artists of the second half of the 20th century.
 In the 1950s, through [[Fernando Botero]] and [[Gloria Zea]],, Teyé met the writer Antonio Montaña Mariño (1932-2013) and married him after a year of exchanging correspondence<ref>Interview with Gloria Valencia for the program Correo Especial, broadcast on April 22, 1992. Director: Rodrigo Castaño. https://www.youtube.com/watch?v=VH676Px_r64</ref>. In a relationship of mutual collaboration, Teyé participated as an illustrator in several publishing projects related to Colombian and Spanish cuisine that were developed by Montaña: La comida en la edad de oro española (Food in the Spanish Golden Age; 1974), Cocina cundinamarquesa (Cundinamarca Cuisine; 1980) and La dicha de cocinar (The Joy of Cooking; 1994). In turn, Montaña provided commentary on his wife’s work for various exhibitions in museums and galleries, and on the career of other artists such as Hernando Tejada, a close friend to whom the writer dedicated one of his books.
 Teresa Cuéllar’s contributions to the cultural sphere transcend her artistic work. She aided in the reconstruction of an important part of the history of art in the late 19th and early 20th centuries in Colombia, by keeping for many years a series of albums belonging to the Colombian painter and printmaker [[Ricardo Moros Urbina]] (1865-1942) that contain large amounts of notes, drawings, studies and prints. The donation of this heritage to the Colombian General Archive enabled  [[Paula Jimena Matiz]] and  [[María Constanza Villalobos]] to provide the country with a complete investigation into the work of Moros Urbina in a publication by the District Institute of Cultural Heritage (IDPC). Additionally, as a result of the donation, in 2019 the General Archive opened an exhibition to the public entitled “Dos cronistas de Bogotá. Un encuentro histórico” (Two chroniclers of Bogotá: a historic encounter), which displayed various texts by [[José María Cordovez Moure]] (1835-1918) in juxtaposition with drawings by Moros Urbina recreated by the artist [[Angie Vega]] on the walls and windows of the exhibition.