Alejandro Obregón/en

Alejandro Obregón

Error al crear miniatura: Falta archivo

Retrato de Alejandro Obregón, por Hernán Díaz

Datos generales

Nombre	Alejandro Jesús Obregón Rosés
Fecha de nacimiento	04 de junio de 1920
Nacionalidad	Colombiana }}
Ocupación	Pintor
Formación profesional	Escuela del Museo de Bellas Artes de Boston. Llotja de Barcelona
País de nacimiento	España
Ciudad de nacimiento	Barcelona
Fecha de fallecimiento	11 de abril de 1992
País de fallecimiento	Colombia
Ciudad de fallecimiento	Cartagena
Familia	Rodrígo Obregón (hijo), Silvana Obregón (hija) Sonia Osorio (Cónyuge).

Alejandro Jesús Obregón Rosés was a painter born in Barcelona in 1920, son of the Colombian Pedro Obregón and the Catalan Carmen Rosés. He died in Cartagena in 1992. Alejandro Obregón was always deeply linked to the Colombian Caribbean. Although he studied at the School of the Museum of Fine Arts in Boston and at the Llotja in Barcelona, his training was marked by a rejection of academicism. Obregón preferred instead the autonomous education of artists from Francisco de Goya, Paul Cézanne, Pablo Picasso, and the Mexican muralists..

Biography

His prolific career has been commonly associated with Abstract Expressionism, exploring themes approaching political and social criticism, still lifes, and Colombian nature. Obregón's work, which encompasses the production of easel paintings, murals, cultural management, and education, is considered one of the most relevant and influential in Colombian modern art. Marta Traba, the best critic of his work, wrote in 1961: "The arrival of Obregón to Colombian painting places us before the first talented Colombian painter in this century [...] The artist's work shows clear development and its evolution is full of indications that unequivocally demonstrate the alliance of talent and hard work."

Artistic Career

Early career

Alejandro Obregón remained in the city of Barcelona until 1944, where he presented an individual exhibition. On his return to Colombia, he settled in Bogotá, where he would share a studio with Ignacio Gómez Jaramillo. Recently arrived from Europe, he debuted in the Colombian art world at the V National Artists’ Salon, with the oil paintings Naturaleza muerta (Still Life), Retrato del pintor (Portrait of the Painter), and Niña con jarro (Girl with a Jar). Since then, his name remained in the foreground and his works continue to be exhibited with great commercial success. In 1945 at the IV National Artists Salon, Obregón began to reveal what would be his signature, his energetic, free, bold strokes. In 1947, a retrospective exhibition was held at the Gregorio Vásquez Hall of the National Library in Bogotá with 62 of his works, where the diversity of gray tones can be appreciated. His themes revolved around self-portraits, female heads, and landscapes. The characteristics of his works and his legacy to art became evident in 1947 when he included fishes, barracudas, and events from the early bipartisan violence in Colombia. From then on, his work was recognized as belonging to Magical Expressionism. By the year 1948, "a peak year under the sign of Alejandro Obregón" (in the words of historian and art critic Walter Engel), the historical-social context of Colombia was already appearing in his work, and the tragedy of April 9 and the violent events in the country were addressed by the artist. This period the artist referred to as his "dark" period where brown, blue, dark gray, and black colors are dominant, in addition to references to Pablo Picasso. Obregón was appointed director of the School of Fine Arts in Bogotá in the same year, and also led the organization of several art salons. He later traveled to France with his wife Sonia Osorio. When he returned several years later in 1955, he began a series of symbolic still lifes, with themes of death and mourning. In these works, we can locate the symbols of the bull and the condor.

Artistic Career

Obregón's artistic career can be divided into approximately four periods. The first, 1942-1946, was a period of training. In this period his painting is contradictory and full of hesitation; his production oscillates between a naturalism with academic recollections and a forced expressionism. The second, 1947-1957, is of stylistic definition and a first maturity. With memories of Cubism, Obregón made miraculously balanced compositions in which he articulated numerous planes in many ways, sometimes with transparency, on neutral backgrounds that also include more or less evident planes. Some of his characteristic motifs appear here already, as well as some of his masterpieces: Puertas y el espacio (Doors and Space), 1951, Bodegón en Amarillo (Still Life in Yellow), 1955, Greguerías y camaleón (Turmoil and Chameleon), 1957

The third period, 1958-1965, is that of full maturity. During these years, Obregón was not only the most influential painter in the country, the paradigm of the new and modern, the most admired and laude—twice winning the first prize for painting at the National Artists’ Salon in 1962 and 1966 with the oils Violencia e Ícaro (Violence and Ícaro) and Las avispas (The Wasps), respectively—but also its highest representative at a continental level. Obregón, already possessing a very personal, expressionist and Americanist style, produced many canvases with his open and vigorous forms in a space without limits, alluding to the greatness and fertility of the continent. Outstanding paintings from this period include Naufragio (Shipwreck), 1960, La trepadora (The Vine), 1961, El mago del Caribe (The Caribbean Magician), 1961, Homenaje a Gaitán Durán (Homage to Gaitán Durán), 1962 [see Volume 6, p. 125], Violencia (Violence, 1962), Volcán submarine (Underwater Volcano) 1965, and Flor de paramo (Moorland Flower), 1965.

The last period began in 1966. From that year until the year of his death, Obregón's painting insisted on an effusive and romantic style and on obsessive themes. As Juan Gustavo Cobo wrote: "His motifs haunt him, they fade away, reappear, merge." Working in series, Obregón painted Anunciaciones (Annunciations), Floras, Ángelas, Violadas (Raped), Zozobras (Perils), Memorias de Grecia (Memoreis of Greece), Magos de la Popa (Magicians of La Popa), Blas de Lezos, Cosas de la luna (Moon Things), Bachués, Leyendas de Guatavita (Legends of Guatavita), Paisajes de Cartagena (Cartagena Landscapes), Amazonias, Copas y océanos (Crowns and Oceans), and Vientos (Winds), an incomplete list. Although he did not accept it ("I think oil is completely obsolete. Acrylic is the medium of the twentieth century."), Obregón was not able to infuse his later works with the mystery and strength of his oil paintings before 1966, the year he started working with acrylic.

However, there are still important works from this period, because Obregón was undoubtedly a talented and imaginative painter. It is obvious that he is at his best when he controls his effusiveness and maintains his mastery of each brushstroke, as well as the colors. Obregón made numerous works that dealt with violence in Colombia, from the 1948 oil painting Masacre 10 de abril (April 10 Massacre) to the acrylic diptych of 1982, Muerte a la bestia humana y Victoria de la paz (Death to the Human Beast and Victory of Peace), executed after the murder of Gloria Lara, to the 1962 oil painting Violencia (Violence), of which Marta Traba wrote: "The terrible sincerity of Violence comes from this: that Obregón painted it because it could no longer be postponed and it was necessary for him to do so. But if this explains the true pathos of his painting, it does not account for the serious and tense beauty of his means of achieving it. Obregón painted the reclining woman in the midst of a large gray space: he solemnly modulated the gray, as if officiating a silent funeral rite, without allowing it a single discordant note. He squeezed it into the enormous gravid figure and unwound it into the landscape, until the dead creature was integrated into that generalized sadness, into that iniquitous, inexplicable fatality.” In addition to his innumerable easel paintings, Obregón created several murals.**

Características de su obra

Obregón's painting is characterized by its expressionism and magical sensibility. As for the former quality, it is worth remembering these words of Vincent van Gogh: “Instead of trying to render exactly what I have before my eyes, I use color more arbitrarily in order to express myself forcefully.” This may be applied to Obregón's work, in which creative fantasy and emotional elements are dominant. Obregón recreated reality in most of his paintings, harmoniously transforming the landscape, modifying the human figure—always in service of the painting itself—and used color to express his emotions.

As for the magical aspects, it is unquestioned that a good portion of Obregón's painting reaches for a representation of the "marvelous reality" that Alejo Carpentier spoke of when referring to the scope of creation of Latin American artists. The art of the twentieth century discovered reality beyond appearances and got in touch with it. Obregón's painting points to that deeper, more essential nature, which is never limited to reproducing the tropical landscape, but transcends it to achieve evocative structures, singular forms and charged images.

The main themes of Obregón's paintings are portraits of family and friends as well as several self-portraits, from a very Cézannian one of the painter sitting while holding a brush (1943), to Daedalus (Dédalo, 1985), and Blas de Lezos (1977-1978); animals, an endless fauna that spans the range from condors and bulls to barracudas, mojarras, and shrimp, goats and iguanas; carnivorous and nocturnal flowers; scenes of violence; and, above all, landscapes, with clear allusions to the sea, beaches, storms, eclipses, and especially winds. These themes recur and therefore do not present themselves in chronological order. As the artist rightly said, more than specific motifs, his paintings refer to "drama, catastrophe, a record of life, reportage, and a little bit of everything."

Featured works

Among the works that combined aesthetic experimentation with the reality of the moment, Masacre 10 de abril (April 10 Massacre) stands out, demonstrating Picasso's strong influence on Obregón’s output during this period. So too El estudiante muerto (The Dead Student), 1957, and Luto por un estudiante (Mourning a Student), 1957, allude to the events that took place during the government of General Gustavo Rojas Pinilla, along with Homenaje al cura Camilo (Homage to Father Camilo), 1968. On the other hand, works that exhibit Obregón fascination with Colombian nature include Pez Dorado (Goldfish), 1947, Nube Gris (Gray Cloud), 1948, Ganado ahogándose en el Magdalena (Cattle Drowning in the Magdalena), 1955, Cóndor de los Andes (Condor of the Andes), 1959, and Toro-Cóndor (Bull-Condor), 1960. As far as murals, there are several in Bogotá, some in private homes and others in public space. The most outstanding is the mural in the Luis Angel Arango Library, completed in 1959. That same year, Marta Traba wrote: "The creation of spaces, determined either by the intersection of planes or by the handling of tones, is the most notable aspect of this fresco by Obregón. With the exception of a handful of recognizable objects (an inkwell, books, a knife), there is no figurative intention, and therefore the viewer must renounce any real understanding, which has been overcome by the space-creating intention and by the relationships between colors." The mural in the Luis Angel Arango Library is a rich and diverse work, in which the structure of the forms and the varied but assorted and severe coloring are notable, in addition to its multiple spaces, an example of the masterpieces of Obregón’s best moments. Murals from the eighties include La galerna (The Gale) at the Cartagena Convention Center, Amanecer en los Andes (Dawn Over the Andes) at the United Nations headquarters in New York, and the one that adorns the Elliptical Hall at the National Capitol in Bogotá [See physical Volume 6, Art, p. 125 and 126].

Violencia (Violence, 1962): A fundamental work in the history of Colombian art

In 1962 the painting Violencia (Violence, 1962) won the first prize for painting in the National Artists’ Salon, marking an evolution and a turning point not only in the oeuvre of Alejandro Obregón but also in modern Colombian art. In this work, the classic genres of landscape and nude are fused. A pregnant woman is represented, lying dead and mutilated in a kind of limbo, gray and somber, with her left breast erect and her right breast completely cut off; her body, breast, and face are raised, in the image of a mountain range. Violence used the human figure as an expressive and experimental material to symbolize the lands of Colombia profoundly and metaphorically, at a time when they had already seen bipartisan violence and the military regime of Gustavo Rojas Pinilla and were facing the harsh reality of the National Front.

Violence does not point to a specific historical event, although Obregón produced it at the time when reports such as La violencia en Colombia by Eduardo Umaña Luna, Orlando Fals Borda, and Monsignor Germán Guzmán Campos were emerging, describing the situation in the areas most affected by the bipartisan war. Marta Traba, an important art critic of the time, would describe the painting as "absolutely gray, absolutely deaf, absolutely silent: for the first time, tragedy has an interpreter commensurate to its immensity," a phrase that still seems valid in the face of the war that has no end in the country.

Similarly, along with Obregón, several artists interested in developing a critical current in Colombian painting through the human body would emerge, such as Carlos Granada, Fernando Botero, Pedro Alcántara, Norman Mejía, Luis Caballero, and even younger artists such as Lorenzo Jaramillo. Violence has been studied from the different perspectives of curators and art researchers, such as Marta Traba, Álvaro Medina, Juan Gustavo Cobo Borda, Eugenio Barney-Cabrera, Eduardo Serrano, Carmen María Jaramillo, Nicolás Gómez, and others.

Otras publicaciones sobre “Violencia” en banrepcultural

• Una mirada a la colección: Violencia de Alejandro Obregón https://www.banrepcultural.org/una-mirada-a-la-coleccion/obra_original.php?i=24
• Violencia: Alejandro Obregón: https://www.banrepcultural.org/biblioteca-virtual/credencial-historia/numero-111/violencia-alejandro-obregon
• Dos bocetos de 'Violencia', la obra más representativa de Alejandro Obregón https://www.banrepcultural.org/noticias/dos-bocetos-de-violencia-la-obra-mas-representativa-de-alejandro-obregon
• Alejandro Obregón y La Violencia: https://proyectos.banrepcultural.org/hernan-diaz/es/el-mundo-como-una-pintura-en-rollo/alejandro-obreg%C3%B3n-y-la-violencia

Obras

• 1939: Jarro azul
• 1947: Pez Dorado
• 1945: Composición nocturna
• 1948: Masacre 10 de Abril
• 1952: Máscaras
• 1954: Gato comido de pájaros
• 1955: Ganado ahogándose en el Magdalena
• 1956: Estudiante muerto (Velorio)
• 1958: Alegoría al libro
• 1959: Cóndor Toro
  • 1959: Cóndor de los Andes
• 1962: Violencia
• 1965: Jardín Barroco
• 1968: Homenaje a Camilo Torres
• 1970: Anunciatas
• 1979: Blas de Lezo (Autorretrato)
• 1982: Muerte de la Bestia Humana
• 1983: Amanecer en los Andes
• 1985: Detalles de un océano

Cronología

• 1920: nace en Barcelona, España.
• 1939-1940: ingresa al School of the Museum of Fine Arts en Boston.
• 1940-1944: se instala en Barcelona. Estudia por cuatro días en La Llotja, escuela catalana de arte inscrita a la Academia de San Fernando en Madrid.
• 1944: viaja y se instala en Bogotá. Participa por primera vez en el V Salón Nacional de Artistas de Colombia. Es profesor de la Escuela de Bellas Artes en Bogotá.
• 1945: realiza su primera exposición individual en la Biblioteca Nacional de Colombia en Bogotá.
• 1946: se instala en Barranquilla e ingresa a ser profesor en una escuela local. Gana el primer premio en el Salón de Artistas Costeños.
• 1948-1949: es director de la Escuela de Bellas Artes de Bogotá.
• 1949: participa en la exposición “32 Artistas de las Américas” en el Museo Nacional de Colombia en Bogotá.
• 1949-1954: se instala en Francia. Expone en la Galerie Greuse, París y en la Unión Panamericana en Washington.
• 1955: regresa a Colombia. Obtiene el segundo premio en el Salón Nacional, en el Centro Artístico de Barranquilla con el óleo Gato comido de pájaros (1954).
• 1956: su obra Ganado ahogándose en el Magdalena (1955) es premiada en la Exposición del Caribe en Houston.
• 1957: comparte con Fernando Botero y Jorge Elías Triana el segundo premio en Pintura del X Salón de Artistas Colombianos, con el óleo Luto por un estudiante muerto (1956).
• 1958: obtiene el primer premio en la Bienal Hispanoamericana en Madrid.
  • 1958: realiza el mosaico Tierra, agua y aire en cerámica para el edificio Misrachi en Barranquilla.
• 1959: gana el primer premio del Salón Anual de Barranquilla. Realiza el mural Alegoría del libro (1959) para la Biblioteca Luis Ángel Arango en Bogotá. Representa a Colombia en la V Bienal de São Paulo junto con Enrique Grau, Fernando Botero, Eduardo Ramírez Villamizar, Armando Villegas y Guillermo Wiedemann, recibiendo una Mención de honor.
• 1960: expone en el Salón Guggenheim en Nueva York.
• 1962: gana el Premio Nacional de Pintura en el XV Salón Nacional de Artistas de Colombia con la obra La violencia (1962).
• 1966: obtiene nuevamente el Premio Nacional de Pintura en el Salón Nacional de Artistas de Colombia.
• 1967: se convierte en director del Museo de Arte Moderno de Bogotá. Representa a Colombia en la Bienal de São Paulo.
• 1969: participa en la película Queimada del director Gillo Pontecorvo.
• 1970: es condecorado con la Orden de San Carlos por el presidente de Colombia Misael Pastrana.
• 1971: pinta Cóndor para el Salón de Sesiones del Consejo de Ministros, Bogotá.
• 1973: pinta para el Banco de Colombia en Bogotá, en la Plaza San Martín el mural Sombra larga y música de días en homenaje al poeta José Asunción Silva.
• 1977: expone en la muestra “La Plástica Colombiana en el siglo XX” de La Casa de las Américas en La Habana, Cuba.
• 1982: realiza el mural Galerna para el Centro de Convenciones de Cartagena.
• 1983: realiza el mural Amanecer en los Andes para el edificio de las Naciones Unidas en Nueva York.
• 1985: expone su muestra “Obregón, Pintor Colombiano” en la Maison de l’Amérique Latine en París. Expone en la muestra “Cinco Artistas Colombianos” del Museo de Arte Latinoamericano (OEA) en Washington.
• 1986: pinta el mural Victoria de tres cordilleras en el Salón Elíptico del Capitolio Nacional de Bogotá. Expone su serie Desastre en la Ciénaga en el Museo de Arte Moderno de Bogotá
• 1990: expone su serie Vientos en la Galería El Museo en Bogotá. Expone en el Museo de Arte Fuji en Tokio, Japón. Expone en el Museo de Arte Moderno de Bogotá con la muestra “Cinco Décadas”, la cual viaja al Museo de Monterrey y al Museo de Arte Moderno de México.
• 1991: realiza su exposición retrospectiva en el Centro Cultural Consolidado de Caracas.
• 1992: fallece en Cartagena y es sepultado en el mausoleo de la familia Obregón en el cementerio Universal de Barranquilla.

En la Colección de Arte del Banco de la República

Obras de Alejandro Obregón en la Colección de Arte

Título	Año	Ubicación	Denominación	Registro
LAGUNA DE SATURNO	1961	Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte	Pintura	AP0231
DOS CÓNDORES	1945	Reserva	Grabado	AP0398
BARRACUDA	1945	Reserva	Grabado	AP0399
ÍCARO CALCINADO	1967	Reserva	Pintura	AP0401
LES COLOMBES	1953	Reserva	Grabado	AP0537
EL GRITO DE GALÁN (DEL PORTAFOLIO GRAFICARIO DE LA LUCHA POPULAR EN COLOMBIA	1977	Reserva	Grabado	AP0832
SIN TÍTULO (DEL PORTAFOLIO COLOMBIA-ECOLOGÍA, LA GACETA II)	1978	Reserva	Grabado	AP0945
SIN TÍTULO	1959	Reserva	Mural	AP1313
LA VIOLENCIA	1945	Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte	Grabado	AP1637
BOCETO PARA UN CÓNDOR	1969	Reserva	Grabado	AP2048
HOMENAJE A JORGE GAITÁN	1962	Reserva	Pintura	AP2051
TOLDO Y BODEGÓN	1945	Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte, Clásicos, experimentales y radicales	Pintura	AP2052
VIOLENCIA	1962	Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte, Clásicos, experimentales y radicales	Pintura	AP3848
CÓNDOR	1989	Reserva	Grabado	AP3948
ESTUDIO PARA VIOLENCIA	1962	Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte, Clásicos, experimentales y radicales	Pintura	AP4817
BODEGÓN CON PEZ	1948	Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte	Pintura	AP4967
APUNTE PARA LA VIOLENCIA	1962	Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte	Pintura	AP5131
LA MESA	1947	Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte	Pintura	AP5171
LA SILLA ROJA	1947	Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte	Pintura	AP5175

Bibliografia

• Obregón, A. (1974). Aire, mar, paisaje, diálogos. Museo de Arte Moderno, Bogotá.
• Obregón, A. (1983). Obra reciente. Galería Quintana, Bogotá.
• Barney Cabrera, E. (1970). "El itinerario de Alejandro Obregón". En: Temas para la historia del arte en Colombia. Bogotá, Universidad Nacional, 1970.
• Del Castillo, R. (1993). Las mujeres de Obregón. Bogotá: Tercer Mundo.
• Cobo Borda, J,G. (1985). Obregón. Bogotá: Editorial La Rosa.
• Medina, A. (1978). "Alejandro Obregón". En: Procesos del Arte en Colombia. Bogotá: Colcultura.
• Panesso, F. (1975). Los Intocables. Bogotá: Ediciones Alcaraván.
• Panesso, F. (1989). Alejandro Obregón ¡A la visconversa! Conversaciones junto al mar. Bogotá: Gamma.
• Traba, M. (1963). Seis artistas contemporáneos colombianos. Bogotá: Antares.
• Traba, M. (1985). "Comienzo de la pintura moderna: Alejandro Obregón". En: Historia abierta del arte colombiano. Cali, Museo de Arte Moderno La Tertulia, 1974. 2á ed.: Bogotá: Colcultura.
• Varios. (1985). Alejandro Obregón, pintor colombiano. Bogotá: Colcultura.
• Jaramillo, C. M., & Suárez, S. (2017). Clásicos, experimentales y radicales. En C. d. República, Cinco Miradas, Cinco Siglos. Bogotá: Banco de la República.
• mcarts. (s.f.). Alejandro Obregón, vida y obra. Obtenido de mcarts: https://www.mcarts.com/obregon/bio/index.html
• Medina, Á. (1978). Procesos del arte en Colombia. Bogotá: Inst

Colección de arte del Banco de la República

• Visite las 20 obras de Alejandro Obregón en Colección de arte

Enlaces relacionados en Banrep cultural

• [1] Conozca la página dedicada a Alejandro Obregón en el libro Inicios del arte moderno en Colombia.
• [2] Recorra la cronología de la vida y obra de Alejandro Obregón, publicada en el Diccionario Colombiano de Artistas de Carmen Ortega Ricaurte.

[3] Lea sobre y conozca la pintura Violencia (1962) de Alejandro Obregón.

• [4] Lea la noticia de blog "Dos bocetos de Violencia de Alejandro Obregón", obras que hacen parte de la Colección de Arte del Banco de la República.
• [5] Lea la reseña biográfica que hace Álvaro Medina sobre Obregón en su libro Procesos del arte en Colombia.
• [6] Lea el artículo "Alejandro Obregón. Caballero solo" de Hernando Valencia Goelkel, publicado en su libro Oficio Crítico.
• [7] Consulte el artículo de Credencial Historia "Violencia", por Álvaro Medina.
• [8] Vea La Violencia, de Alejandro Obregón Rosés, en nuestra página especial "Una mirada a la colección".

Véase También

• Lorenzo Jaramillo
• Carlos Granada
• Fernando Botero
• Luis Caballero

Créditos

• Investigación y texto: Germán Rubiano Caballero

Esta biografía fue tomada de la Gran Enciclopedia de Colombia del Círculo de Lectores, tomo de biografías

• Mónica Piragauta Roldán, mediadora de los Museos y colecciones del Banco de la República, para Banrepcultural.
• Revisión y edición de textos: Inti Camila Romero Estrada y Diana Marcela Salas Solórzano. Servicios al Público y Educativos, Unidad de Arte y Otras Colecciones (UAOC)

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