Beatriz González

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 }}
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, }}
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. 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.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)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.

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)

Obras de Beatriz González en las Colecciones del Banco de la República

Obras de Beatriz González en la Colección de Arte del Banco de la República

Título	Año	Ubicación	Denominación	Registro
Mi lucha	1974	Reserva	Grabado	AP3598
El arzobispo virrey como Salomé	1981	Reserva	Grabado	AP1174
Túmulo funerario para soldados bachilleres	1986	Reserva	Grabado	AP3610
Naturaleza viva II	1969	Reserva	Pintura	AP2163
Tapen tapen	1994	Reserva	Pintura	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.	1970	Reserva	Grabado	AP3580
Veterano de Corea mata a la suegra, a la esposa y luego se suicida	1968	Reserva	Grabado	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.)	1969	Reserva	Grabado	AP3582
Disfrazado de motorista de circulación pero cubriendo el uniforme con una gabardina iba uno de los antisociales muertos ayer	1978	Reserva	Grabado	AP3156
La gráfica de Amparito muestra la forma como fue hallado el cadáver del desafortunado anciano Catalino Díaz Izquierdo	1968	Reserva	Grabado	AP3584
Harakiri en plena calle	1970	Reserva	Grabado	AP3585
Asesinada mujer en hospedaje, no ha sido posible identificarla	1969	Reserva	Grabado	AP3586
“La felicidad de Pablo Leyva: IV. Yo soy albañil”	1977	Reserva	Grabado	AP3587
“La felicidad de Pablo Leyva: V. Yo soy enfermera”	1977	Reserva	Grabado	AP3588
“La felicidad de Pablo Leyva: III. Yo soy maestra”	1977	Reserva	Grabado	AP3589
Autorretrato Rembrandt-copia	1966	Reserva	Grabado	AP3590
Postales González. Se reanudan relaciones Colombo Soviéticas	1978	Reserva	Grabado	AP3591
Postales González. Mora en leche	1978	Reserva	Grabado	AP3592
Postales González. La bienal de artes plásticas	1978	Reserva	Grabado	AP3593
Happy birthday	1971	Reserva	Grabado	AP3594
La otra cara de Ludwig Van	1973	Reserva	Grabado	AP3595
La iglesia está en peligro	1976	Grabado	Pintura	AP3596
Jackeline Oasis	1975	Reserva	Grabado	AP3597
Cromo in memoria	1976	Reserva	Grabado	AP3599
La actualidad ilustrada	1974	Reserva	Grabado	AP3600
Ya llegó la fecha	1977	Reserva	Grabado	AP3601
Los reveses de la realeza	1974	Reserva	Grabado	AP3602
El concordato	1993	Reserva	Grabado	AP3603
Bolívar azul	1983	Reserva	Grabado	AP3604
Bolívar rojo	1983	Reserva	Grabado	AP3605
Bolívar amarillo	1983	Reserva	Grabado	AP3606
Zócalo de la comedia	1983	Reserva	Grabado	AP3607
Zócalo de la tragedia	1983	Reserva	Grabado	AP3608
Plumario colombiano	1983	Reserva	Grabado	AP3609
Túmulo funerario para soldados bachilleres	1986	Reserva	Grabado	AP3610
La isla del conejo de la suerte	1993	Reserva	Grabado	AP3611
Uxoricidio	1984	Reserva	Grabado	AP3612
Lucho y Bachué	1987	Reserva	Grabado	AP3613
Decoración de interiores	1981	Reserva	Grabado	AP3614
Esta bienal es un lujo que un país subdesarrollado no se debe dar	1981	Reserva	Grabado	AP3615
Ya llegó la fecha II	1979	Reserva	Grabado	AP3616
Porfirio	1983	Reserva	Grabado	AP3617
Viva México	1979	Reserva	Grabado	AP3618
Bodegón colombiano	1983	Reserva	Grabado	AP3619
Yubilí	1979	Reserva	Grabado	AP3620
1/500	1992	Reserva	Grabado	AP3621
Cuentos para citaniños	1973	Reserva	Grabado	AP3622
Retratos mudos	1990	Reserva	Pintura	AP4236
Lágrimas y peces	1997	Reserva	Pintura	AP4243
Kennedy (John Fitzgerald), político demócrata norteamericano (1917-1963), presidente de los Estados Unidos en 1961. Murió asesinado.	1971	Reserva	Pintura	AP5024
Sun Maid	1974	Reserva	Pintura	AP5289
La muerte del pecador	1973	Reserva	Pintura	AP5320
Ventana entreabierta	2001	Reserva	Pintura	AP6190

Cronología

• 1932: Nace en la ciudad de Bucaramanga, Santander. Hija de Valentín González Rangel y Clementina Aranda Mantilla, y hermana menor de Jorge y Lucila.
• 1948: Estudia en el Colegio de las Franciscanas de Bucaramanga.
• 1956: 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.
• 1958: Viaja a Bucaramanga y trabaja haciendo decoraciones para vitrinas y escenografías para desfiles.
• 1959: Regresa a Bogotá e ingresa a la Facultad de Artes de la Universidad de los Andes.
• 1962: se gradúa de la universidad y realiza una exposición junto a sus compañeras Camila Loboguerrero y Gloria Martínez.
• 1964: 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.
• 1965: 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.
• 1966: Viaja a Rotterdam, Holanda a tomar un curso de grabado en la Academia Van Beeldende Kunsten.
• 1969: Su obra “Es Copia” es rechazada en el XX Salón de artistas Colombianos. Obtiene un premio en Salón Austral de Grabado.
• 1970: Inicia su periodo como directora de educación del Museo de Arte Moderno de Bogotá, labor que desempeña hasta 1983.
• 1971: Es seleccionada por el Instituto Colombiano de Cultura como representante de Colombia a la XI Bienal de Sao Paulo, Brasil.
• 1973: Expone sus muebles junto a Luis Caballero en el Museo de Arte Moderno de Bogotá.
• 1976: Cierra la etapa de los muebles y comienza a experimenta con superficies textiles.
• 1978: Inicia la escuela de guías del Museo de Arte Moderno. Es seleccionada para la XXVIII Bienal de Venecia.
• 1980: Su obra comienza a tornarse política durante la gestión del presidente Turbay Ayala.
• 1985: Inicia su gestión como miembro del consejo asesor de artes plásticas del Banco de la República.
• 1990: 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.
• 1993: Exhibición Por humor al arte en la Biblioteca Luis Ángel Arango, Bogotá.
• 1996: Exposición itinerante del Banco de la República Treinta años de la obra gráfica de Beatriz González.
• 1997: Exposición individual sobre la masacre de “Las Delicias” en la Galería Garcés Velásquez, Bogotá.
• 1998: Exposición retrospectiva Que honor estar con usted en este momento histórico en el Museo del Barrio, Nueva York.
• 2000: Es nombrada maestra honoris causa en Artes Plásticas por la Universidad de Antioquia.
• 2001: Realiza la muestra Dolores basada en las imágenes de los indigenistas norteamericanos asesinados por la guerrilla.
• 2004: Se retira de su cargo como curadora del Museo Nacional de Colombia.
• 2006: Premio “Vida y Obra” por el Ministerio de Cultura.
• 2009: Curadora e investigadora de la exposición La caricatura en Colombia a partir de la Independencia en el Banco de la República.
• 2010: 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”.
• 2011: Exhibición retrospectiva en el Museo de Arte Moderno de Medellín.
• 2013: La Universidad de los Andes publica el libro Manual de arte del siglo XIX, escrito por Beatriz González.
• 2014: Publica el libro Pobre de mí, no soy sino un triste pintor, recopilación epistolar con Luis Caballero.
• 2015: 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.
• 2016: Exposición en el Museo la Tertulia, Cali Beatriz González y su segundo original.
• 2017: Exposición retrospectiva Museo de Arte Contemporáneo de Burdeos.
• 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.
• 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.

Véase también

• Gonzalo Ariza
• Débora Arango Pérez
• Doris Salcedo
• Colección de Arte del Banco de la República
• Historia de la caricatura en Colombia:
• Video de la curaduría Rupturas y continuidades: siglo XIX:
• Micrositio de Libretas de dibujos: reencuentros de memoria gráfica:
• Roberto Páramo: pintor de la sabana:

Bibliografía

• 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.
• Beatriz González. (1984). Exposición Retrospectiva 1962-1984, Museo de Arte Moderno, Bogotá.
• Rubiano, G., y Rodríguez, M. (1990). Beatriz González, una década 1980-1990, Bogotá: Museo de Arte Universidad Nacional.
• Traba, M. (1977). Los muebles de Beatriz González. Bogotá: Museo de Arte Moderno.
• Ponce de Leon, C., y otros. (1998). Beatriz González, una pintora de provincia. Bogotá, Carlos Valencia Editores.
• González, B. (2008). Visiones paródicas: risas, demonios, jocosidades y caricaturas. Revista de Estudios Sociales, 30, pp. 72-79.
• Gutiérrez, N. (2016). Arte colombiano años noventa. Credencial Historia, 319.
• Laverde, M.C. (1999). Desplazamientos, decisiones y tránsitos en la obra de Beatriz González. Revista Nómadas, 10, pp. 108-122.

Colección de arte del Banco de la República

• Visite 57 obras de arte de Beatriz González en Colección de arte

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