Fernando Botero/en

Fernando Botero

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Datos generales

Nombre	Fernando Botero Angulo
Fecha de nacimiento	19 de abril de 1932
Nacionalidad	Colombiana }}
Ocupación	Pintor, dibujante y escultor
Bachillerato	Colegio de Jesuitas de Bolívar
País de nacimiento	Colombia, }}
Ciudad de nacimiento	Medellín
Familia	David Botero Mejía (Padre), Flora Angulo de Botero (Madre), Juan David (Hermano), Rodrigo (Hermano), Fernando Botero Zea (hijo), Lina Botero Zea (Hija), Juan Carlos Botero Zea (Hijo), Pedrito Botero Zambrano (Hijo)

Fernando Botero is a Colombian artist that has produced paintings, drawings, and sculptures, born in Medellin on April 19, 1932. Botero is one of the most recognized plastic artists in Colombia in recent decades. His vast work, now fully consolidated, his deliberate dislike for contemporary art and his extensive knowledge of the history of classical painting make Botero an exceptional artist in the country and the rest of Latin America. His paintings and drawings are highly personal works that in no way can be confused with the various international figurative positions of recent years. His art is, to some extent, retrograde and provincial. It depends more on the art of the great masters, on popular art, on the pre-Columbian tradition, on the imagery of the colonial period of Latin America, than on any figurative "ism".

Biography

Born in Medellín on April 19, 1932, Botero was the second of three children of David Botero Mejía, a businessman, and Flora Angulo de Botero, a seamstress. His older brother Juan David had been born four years earlier, and his younger brother Rodrigo was born in 1936, the same year his father died.

In 1938 Botero began his primary education and continued his secondary education at the Bolívar Jesuit School.

In 1948, at the age of 16, he published his first illustrations in the Sunday magazine of El Colombiano, one of the most important newspapers in Medellín. After finishing his high school studies in 1950, he moved to Bogotá in 1951.

In 1955 he married the cultural manager Gloria Zea, with whom he had three children: Fernando, Lina, and Juan Carlos. The latter was born in 1960, the same year Botero separated from his first wife.

In 1964 he married for the second time with Cecilia Zambrano, with whom he had his fourth child: Pedrito, born in 1970. In 1974, when he was but four years old, the boy died in a family traffic accident in Spain. The marriage did not overcome the loss of the child and Botero separated for the second time.

In 1973, he settled in Paris, where he met the Greek sculptor and painter Sophia Vari, whom he married in 1978. He now lives between Paris, Pietrasanta, and New York.

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Portrait of Botero. Photo: Hernán Díaz

Artistic career

Botero's first known works are drawings: the illustrations for the literary supplement of the El Colombiano newspaper in Medellín. In 1951, after moving to Bogotá, he had his first individual exhibition at the Leo Matiz gallery, presenting watercolors, gouaches, ink drawings, and oils. With the sales of some of his works exhibited on that occasion, he settled in Tolú. On his return to the capital, he exhibited again, this time with more success. At the IX National Artists’ Salon, held in 1952, Botero won second prize in oil painting with “Frente al mar” (In Front of the Sea). He was 20 years old at the time and decided to travel to Europe. He spent a short time at the San Fernando Academy in Madrid and then at the San Marco Academy in Florence, where he took classes on the art of the Italian Quattrocento with Roberto Longhi.

He remained in Europe until 1955. Of these years in Europe, Botero has commented: "I actually consider myself self-taught. I worked for three years in fine arts schools, but practically never had a teacher. I learned by reading, going at museums, and above all painting."

In 1956 he traveled to Mexico, then to Washington and New York. On his return to Colombia in 1957, his oil painting Contrapunto he shared the second prize in painting at the X National Artists’ Salon with Alejandro Obregón and Jorge Elías Triana. In 1958, he won the first prize in the XI National Artists’ Salon, with the oil painting La camera degli sposi (Homage to Mantegna). Since then, Botero's dealings with the great masters of the past and with a few modern ones have been constant. Botero strove to—and indeed did—paint and draw like the best. In pursuit of this aim he not only visited the museums and methodically studied techniques and procedures but also worked long hours. This familiarity with and admiration for art since the Renaissance explains the charcoal work Dinner with Ingres and Piero della Francesca (1972), in which Botero sits at the table with the French Neoclassical painter and the great Italian painter of the Quattrocento.

But although Botero has taken a seat at the table with European masters thanks to his talent, commitment, and hard work, Botero continues to be an artist from Latin America, from Colombia, and even from Medellin: "Many artists believe that art becomes universal if you copy universally. I don't think so. I think you have to be honest with yourself, and by being honest you can reach people all over the world [...] I am the most Colombian of Colombian artists, even though I have lived outside of Colombia for so long, since 1960 [...] In a way, I paint Colombia the way I want it to be, but it is not really like that. It is an imaginary Colombia that both is and is not the same as the true Colombia.” In 1961, he moved to New York, where he worked for twelve years. He then settled in Paris. Nevertheless, Botero is a true representative of Latin American art not only because of his themes of nuns, prelates, military men, brothels, villages with simple houses, and still lifes with tropical fruits, but also because of his magical realism.

Botero stated in 1967: "I am a protest against modern painting and yet I use what is hidden behind its back, playing ironically with everything that is absolutely known to everyone. I paint figuratively and realistically, but not in the flat sense of fidelity to nature. I never give a brushstroke that does not describe something real: a mouth, a hill, a pitcher, a tree. But what I describe is a reality found by me. It could be formulated in this way: I describe realistically an unrealistic reality.” Tracy Atkinson, one of several foreign critics who have discussed Botero’s work, wrote, "Botero’s world is people in a broad sense. A repertoire that is generally absurd and a bit pathetic. But the warmth and sympathy of its treatment saves it from its ugliness and makes it instantly unforgettable. The artist’s attitude is so intense and consistent that it reaches into all things”.

In Botero’s paintings are figures encircled by lines. Even in his Expressionist phase, we see vehement strokes that define the representation. His oeuvre contains large format drawings, many on canvas. Undoubtedly, Botero gives special importance to drawing.

His is a world suffering from gigantism, but full of innocence and the best of attitudes. Behind this theme appears the quality of the painting itself, which is exceptional from the point of view of the craft. Botero's paintings are, above all, paintings of great beauty. The artist has chosen a traditional manner of painting, but this is so transformed by his personal vision that it becomes unique and very original. He works from a known and well-remembered world, but in it many wonderful things arise and take place: the composition of eight prelates piled up on top of each other like the fruits in a still life in the oil painting Obispos Muertos (Dead Bishops), 1965; the disproportion between the tiny first lady and the military giant, with a tiny cup, from the oil painting Dictador tomando chocolate (Dictator Drinking Hot Chocolate), 1969; or the presence of a snake and a crocodile on the floor of the room in the oil painting Familia con animales colombianos (Family with Colombian Animals), 1970. The catalog of Botero's exhibition, organized by the Hirshhorn Museum in Washington in 1979, divided his works into six categories: 1) religion: Madonnas, saints, devils, cardinals, bishops, nuncios, mothers superior, nuns; 2) masters of art history: various interpretations of works by Jan van Eyck, Masaccio, Paolo Uccello, Andrea Mantegna, Leonardo da Vinci, Lucas Cranach, Albrecht Dürer, Caravaggio, El Greco, Diego Velázquez, Francisco de Zurbarán, Juan Sánchez Cotán, Georges de la Tour, etc.; 3) still and moving lifes: animals, especially in the sculptures of recent years; 4) nudes and sexual manners: particularly whorehouse scenes; 5) politicians, presidents, first ladies, military men; and 6) real and imaginary people: the cyclist Ramon Hoyos, art dealers, members of his family, numerous self-portraits, and many anonymous characters who pose, eat, dance or ride horses.

Among the imaginary people are the bullfighters and many other characters from that world, a recurring theme in Botero's work since the early eighties, as seen in his Flamenco tablaos. According to Simón Alberto Consalvi, "Botero's bullfighting is a confession: an exercise in nostalgia and, finally, a celebration of great bulls, brave matadors, Bourbon horsemen, suicide horses, and celebratory muses." But the raucous celebration cannot be understood without the presence of death, and Botero knows this well; he has produced works such as Toro muriendo (Dying Bull), oil, 1985 and Muerte de Ramón Torres (Death of Ramón Torres), oil, 1986, in which the winner is a skeleton wielding a sword while riding the animal. Since 1976, Botero has combined his work in painting and drawing with sculpture.

In 1977, he exhibited his sculptures for the first time at the Grand Palais in Paris. Including some previous works made with acrylic paste that date back to the early sixties, Botero today has an abundant three-dimensional oeuvre, especially in bronze and marble. Reading the artist's own texts that comment on his sculptures, one can easily understand the archaization that characterizes of all his three-dimensional works. Botero speaks, for example, of again confronting the problem of seeking the spirit of colonial sculpture, within traditional materials such as bronze or marble, with roots in pre-Columbian art and taking inspiration from popular Mexican art pieces.

It cannot be denied that in the best workshops of Pietrasanta in Tuscany, Italy, Botero has produced sculptures of a remarkably high quality, especially when he has enlarged a fragment of the human body or created an absurd contrast between two figures or parts of a body. Botero has received recognition, such as the exhibition of his sculptures in the Champs Elysees in Paris (1992) and on Fifth Avenue in New York (1993), as well as the exhibition La corrida in the Luis Angel Arango Library in Bogota (1993). Even today, Botero seems inexhaustible. Creator of an unmistakable "race," possessor of an unlimited imagination, taster of the best classical painters, connoisseur of all the traditional crafts of painting, drawing, and sculpture, legitimate son of Colombia and Latin America, the image maker from Antioquia assures us that the problem lies not in changing but in deepening [See Volume 6, Art, p. 127-128].

Timeline

• 1932: Born in Medellín, Antioquia.
• 1936: His father David Botero, who would later become a recurring subject of his work, dies at the age of 40.
• 1949: Works as an illustrator for the newspaper El Colombiano of Medellín.
• 1950: Participates in the Salon of Antioquian Painters held at the Institute of Fine Arts in Medellin.
• 1951: First exhibition in Bogota at the Leo Matiz Art Gallery.
• 1952: Obtains the second prize in the IX National Artists' Salon with the painting Frente al mar (In Front of the Sea), 1952. He journeys to Europe to train as a painter.
• 1955: Returns to Colombia and settles in Bogotá. Exhibits at the National Library in Bogota.
• 1956: Travels and settles in Mexico to continue his training as a painter.
• 1957: Shares the second prize in painting at the X National Artists’ Salon with Alejandro Obregón and Jorge Elías Triana with Alejandro Obregón for the oil painting Contrapunto (1957).
• 1958: The inaugural exhibition of the Luis Angel Arango Library in Bogotá enjoys Botero's participation with Mandolina sobre una silla (Mandolin on a Chair), 1957.
  • First prize in the XI National Artists’ Salon with the oil painting La camera degli sposi (Homage to Mantegna) (1958).
• 1959: Represents Colombia at the fifth São Paulo Biennial along with Enrique Grau, Alejandro Obregón, Eduardo Ramírez Villamizar, Armando Villegas y Guillermo Wiedemann.
• 1960: Guggenheim International Award for the painting Arzodiablomaquia (1960). Settles in New York.
• 1961: His work Monalisa a los doce años (Mona Lisa at Age Twelve), 1959, is acquired by the New York Museum of Modern Art (MoMA).
• 1962: Solo show at The Contemporaries in New York.
• 1964: Solo show at the Bogotá Museum of Modern Art (MAMBO).
• 1966: First solo show in Europe at Staatliche Kunsthalle from Baden Baden, Alemania.
• 1967: His work La familia presidencial (The Presidential Family), 1967, is acquired by the New York Museum of Modern Art (MoMA).
• 1976: A retrospective exhibition is held at the Museum of Contemporary Art in Caracas. The Venezuelan government awards him the Order of Andrés Bello.
• 1977: Obtains the Cross of Boyacá in the grade of Officer. He exhibits his sculptures for the first time at the Grand Palais in Paris. The Pedrito Botero hall in the Museum of Antioquia is inaugurated with a donation of 16 works by the artist, as a tribute to his son who died in 1974.
• 1980: Sets up a residence in Pietrasanta, Italia, where he produces his sculpture in bronze and marble.
• 1984: Donates a sculpture hall to the Museum of Antioquia in Medellín and the National Library of Colombia in Bogotá.
• 1987: A retrospective exhibition of his work is held at the Museo Nacional Centro de Arte Reina Sofía in Madrid.
• 1992: Presents 32 sculptures at Champs-Elysées in Paris.
• 1993: Sculptures exhibited along Fifth Avenue in New York.

Presents the exhibition La corrida at the Luis Ángel Arango Library in Bogotá.

• 1995: A terrorist attack targets the sculpture El pájaro (The Bird) in San Antonio Square in Medellín, killing 30 people.
• 1998: Presents 24 sculpture at Praça do Comércio in Lisbon.
• 2000: Donates 208 of his own works and his collection of international art to Banco de la República in Bogotá, thus creating the Botero Museum. A donation of 108 works is made to the Museo de Antioquia in Medellín as well. Plaza Botero in Medellín opens with 23 of his sculptures.
• 2004: Donates a series of works on violence called El dolor de Colombia (Colombia's Pain) to Colombia's National Museum of Bogotá.
• 2007: Donates the 47 works of his series Abu Ghraib (2005) to the University of California, Berkeley.
• 2012: Retrospective exhibition at Palacio de Bellas Artes in Mexico City. He donates the series El Viacrucis (The Way of the Cross), 2011, to the Museo de Antioquia in Medellín.
• 2015: Exhibition El circo (The Circus) in Medellín.
• 2015-2016: Anthological exhibition at China's National Museum in Beijing and the China Art Museum in Shanghai. Exhibits the series Boterosutra (2013) at Musée Würth in Erstein, France.
• 2018: Exhibition El joven maestro. Botero, obra temprana (The Young Master
• 2020: Botero Museum in Bogotá turns 20.

Obras destacadas

• 1952: Frente al mar
  • 1952: Cocos
• 1957: Contrapunto
  • Mandolina sobre una silla
• 1958: La Camara degli sposi (Homenaje a Mantegna)
• 1959: Monalisa a los doce años
• 1960: Arzodiablomaquia
• 1961: Obispos muertos
• 1963: Nuestra señora de Fátima
• 1965: La familia Pinzón
• 1967: La familia presidencial
• 1975: Mano izquierda
• 1978: El matrimonio Arnolfini
• 1978: Monalisa
• 1988: La cornada
• 1989: Una familia
  • Caminando cerca al río
• 1990: El estudio
• 1995: Pájaro
• 2000: Masacre de Mejor Esquina
• 2005: serie Abu Ghraib
• 2004-2007: serie El circo
• 2011: serie Viacrucis
• 2013: serie Boterosutra

Museo Botero

En el año 2000 Fernando Botero donó al Banco de la República una colección de arte de 208 obras, 123 de su propia autoría y 85 de renombrados artistas internacionales de los siglos XIX y XX. Con esta colección se fundó el Museo Botero, ubicado en el barrio La Candelaria, centro histórico de Bogotá, en una casona colonial que funcionó hasta 1955 como Arzobispado de la ciudad, y que fue restaurada y adecuada como museo por el Banco de la República, bajo los preceptos y la curaduría del propio maestro Botero y con el apoyo de Ana María Escallón. Desde el 1° de noviembre del 2000, la donación ha estado gratuitamente a disposición del público. El artista durante el acto inaugural del Museo Botero, expresó:

“Para mí es un placer infinito saber que estas obras pertenecen hoy a Colombia; saber que los estudiantes que ingresen a esta casa, entrarán en contacto con las corrientes artísticas más importantes de nuestro tiempo, contemplando aquí permanentemente, obras originales de grandes maestros; saber que los amantes de la pintura y la escultura puedan venir a visitar este remanso de paz y pasearse tranquilamente por estas salas, dejándose inundar por la estética moderna”.

Historia de la casa

La sede del Museo Botero, ubicada sobre la calle 11 entre carreras 4ta y 5ta fue construida entre 1724 y 1733 para ser el Palacio Arzobispal de Santafé. Años después se levantaría junto al Palacio la Casa de Moneda, de la mano de su director Tomás Sánchez Reciente. La primera renovación del Palacio tuvo lugar entre 1788 y 1790 durante el obispado de Antonio Caballero y Góngora con el fin de ampliar la zona de la biblioteca y el espacio de la colección de arte. Aspectos notables de su arquitectura eran la presencia de una chimenea y una fuente de agua en el patio interior, aspectos exóticos que para la época colonial denotaban lujo y poder.

El palacio Arzobispal fue blanco de varios atentados en 1862 y 1886. Sin embargo, el 9 de abril de 1948, día del asesinato de Jorge Eliécer Gaitán y producto de las revueltas y los saqueos ocurridos en el centro de Bogotá, la casa fue incendiada y derrumbada por completo. El Banco de la República decidió entonces adquirir los terrenos y emprender la labor de reconstrucción del lugar partiendo de fotografías aéreas e imágenes de la fachada original. Hacia 1955 es alquilada a la Corte Suprema de Justicia, y en 1979 se convierte en la Hemeroteca Luis López de Mesa. Luego de la toma del Palacio de Justicia en noviembre de 1985, la casa vuelve a fungir como Corte Suprema de manera temporal. En la década de los noventa, la casa se transforma en área de exposiciones de arte y en oficinas para la Subgerencia Cultural del Banco de la República. En el año 2000 y tras la donación de las 208 obras de Fernando Botero, la casa fue nuevamente reformada para convertirse en la sede permanente del Museo Botero.

Colección internacional de arte

La colección internacional donada por Fernando Botero consta de 85 obras entre dibujos, acuarelas, óleos y esculturas de artistas entre finales del siglo XIX y el siglo XX de gran reconocimiento a nivel mundial las cuales se encuentran dispuestas en el costado oriental de la casa.

La primera sala del primer piso está compuesta por artistas relacionados con el impresionismo francés, como Jean-Baptiste-Camille Corot, Pierre Auguste Renoir, Claude Monet, Camille Pissarro, Gustave Caillebotte, Edgar Degas y el posimpresionista Henri de Toulouse-Lautrec. Pierre Bonnard y Edouard Vuillard son otros autores presentes en esta sala.

A continuación, aparecen artistas que formaron parte del surrealismo, cubismo o expresionismo alemán, vanguardias de principios del siglo XX, donde se destacan nombres como Salvador Dalí, Pablo Picasso, Max Beckmann, Georges Braque, Alberto Giacometti y Joan Miró. El siguiente espacio está compuesto por dibujos y acuarelas de George Grosz, Henri Matisse, Gustav Klimt, Sonia Delaunay, Balthus, Lucian Freud, entre otros.

En el segundo piso aparecen vanguardias americanas posteriores incluyendo el expresionismo abstracto de Robert Rauschenberg y Willem de Kooning, además de obras de Francis Bacon y Antoni Tàpies. También son exhibidos algunos artistas latinoamericanos como Wifredo Lam, Roberto Matta, Joaquín Torres García y Rufino Tamayo.

La última sala de colección internacional contiene esculturas de varios artistas, desde Marx Ernst, Henry Moore, hasta Alexander Calder y Henry Laurens. Colección de obras realizadas por Fernando Botero

Las 123 obras de Botero se caracterizan por pertenecer a un periodo artístico que va desde la década de los setenta hasta finales de los noventa, donde el artista evidencia que su estilo volumétrico y monumental se encuentra completamente consolidado. De igual manera se observa la variedad de temas que ha abordado en su trayectoria, como por ejemplo la familia latinoamericana en las obras Una familia (1989), Maternidad (s.f) y Hombre, mujer y niño (s.f), la religión católica en pinturas como Caminando cerca al río (1989), Madre superiora (1996), y las esculturas Adán (s.f) y Eva (s.f) y la violencia en las pinturas Guerrilla de Eliseo Velásquez (1988) o Manuel Marulanda "Tiro Fijo" (1999). También están presentes obras que relatan su vida familiar y personal como Hombre a caballo (1994), Retrato de mi madre (1990) y Pedrito (1997), además de sus acostumbradas naturalezas muertas y sus homenajes a grandes artistas de la historia del arte occidental, a través de las pinturas Monalisa (1978), El estudio (1990) y Maribárbola (1984).

Las obras de Fernando Botero son exhibidas en el costado opuesto de la casa, es decir el costado occidental, dispuestas de acuerdo al tamaño y a la técnica, motivo por el cual aparecen salas de óleo a gran formato, salas de dibujo, acuarela y pastel, una sala de obras en formato pequeño y una sala de esculturas en bronce y mármol. El Museo Botero hace parte de la Manzana Cultural del Banco de la República, por lo cual se conecta con el Museo de Arte Miguel Urrutia y con el Museo Casa de Moneda.

Obras de Fernando Botero en las Colecciones del Banco de la República

Obras de Oscar Muñoz en la Colección de Arte del Banco de la República

Título	Año	Ubicación	Denominación	Registro
Cocos	1952	Reserva	Pintura	AP5321
Mandolina sobre una silla	1957	EN EXHIBICIÓN Bogotá, Centro Cultural de Bogotá, Museo de Arte Miguel Urrutia (MAMU), Exposición Permanente de la Colección de Arte, Clásicos, experimentales y radicales	Pintura	AP0001
Monalisa	1978	EN EXHIBICIÓN Bogotá, Centro Cultural de Bogotá, Museo Botero	Pintura	AP3380
Mano izquierda	1975	EN EXHIBICIÓN Bogotá, Centro Cultural de Bogotá, Museo Botero	Escultura	AP3347
Pareja bailando	1987	EN EXHIBICIÓN Bogotá, Centro Cultural de Bogotá, Museo Botero	Pintura	AP3218
Una familia	1989	EN EXHIBICIÓN Bogotá, Centro Cultural de Bogotá, Museo Botero	Pintura	AP3336
Caminando cerca al río	1989	EN EXHIBICIÓN Bogotá, Centro Cultural de Bogotá, Museo Botero	Pintura	AP3217
El estudio	1990	EN EXHIBICIÓN Bogotá, Centro Cultural de Bogotá, Museo Botero	Pintura	AP3222
Masacre de Mejor Esquina	2000	EN EXHIBICIÓN Bogotá, Centro Cultural de Bogotá, Museo Botero	Pintura	AP3388
Venus dormida	Sin fecha	EN EXHIBICIÓN Bogotá, Centro Cultural de Bogotá, Museo Botero	Escultura	AP3338

Véase también

• Alejandro Obregón
• Museo Botero
• Doris Salcedo
• Colección de Arte del Banco de la República
• Beatriz González

Obras de Fernando Botero en la Colección de Arte del Banco de la República

Explora las obras de Fernando Botero en la Colección de Arte

Bibliografía

• Arciniegas, G. (1979). Fernando Botero. Madrid: Edilerner Internacional.
• Botero, Museo de Arte Contemporáneo, Caracas, 1976, texto: Michel Lancelot. CABALLERO BONALD, JOSÉ MARÍA.
• Botero, La Corrida. (1989). Barcelona, Lerner y Lerner.
• Escallon, A,M.,y Calderón, C. BOTERO. La Corrida. Bogotá, Biblioteca Luis Angel Arango, 1993.
• Fernando Botero. Pinturas, dibujos, esculturas, Centro de Arte Reina Sofía, Madrid, 1987. LASCAULT, GILBERT. Botero, la pintura. Barcelona, Lerner y Leiner, 1992.
• MCcabe, Cynthia Jaffee. Fernando Botero. Washington, Smithsonian Institution Press, 1979. MEDINA, ALVARO. "Botero encuentra a Botero". En: Procesos del arte en Colombia. Bogotá, Colcultura, 1978.
• Paquet, M. (1992). Botero, filosofía de la creación. Bélgica, Lanoo, Tielt, 1985 y Mallard Press.
• Ratcliff, C. (1980). Botero. Nueva York: Abbeville Press.
• Rios, K. (2002). El Museo Botero. Obtenido de Banrepcultural: https://www.banrepcultural.org/bogota/museo-botero/historia
• Rubiano, Germán. (1975). "La figuración tradicionalista". En: Historia del arte colombiano. Barcelona: Salvat Editores.
• Sullivan, Edward. (1986). Botero. Sculpture. Nueva York: Abbeville Press.
• Traba, M. (1963). Seis artistas contemporáneos colombianos. Bogotá: Antares.
• Traba, M. (1974). "Las dos líneas extremas de la pintura colombiana: Botero y Ramírez Villamizar". En: Historia abierta del arte colombiano. Cali: Museo de Arte Moderno La Tertulia.*

Enlaces relacionados en Banrepcutural

1. [1] Línea de tiempo interactiva de la vida de Fernando Botero
2. [2] Consulte el listado de la materiales disponibles en la Biblioteca Luis Ángel Arango.
3. [3] Lea el artículo "Botero encuentra a Botero", publicado en el libro "Procesos del arte en Colombia".
4. [4] Lea el libro "Colección Botero en primera persona del singular".
5. [5] Consulte el libro "Fernando Botero, la pintura como mundo".
6. [6] Lea la reseña "El abanico de Botero", escrita por Hernando Valencia Goelkel.
7. [7] Lea la crítica de "La corrida", escrita por Darío Jaramillo Agudelo para la revista Credencial Historia.

Créditos

1. Investigación y texto: María Clara Martínez Rivera y Mónica Piragauta Roldán, mediadora de los Museos y colecciones del Banco de la República, para Banrepcultural.

2.Revisión y edición de textos: Inti Camila Romero Estrada y Diana Marcela Salas Solorzano…Servicios al Público y Educativos, Unidad de Arte y Otras Colecciones (UAOC)

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