#René Segovia | Explore Tumblr Posts and Blogs

thealphabetter · 2 years

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Madrid

1/1/22

I arrived in Spain in time for the new year, and hit the hour on the subway system in Madrid. I chose to stay at an AirBnB hosted by a local, Alba. Once I got off the subway train, I found that my phone’s compass could be sporadically inclined to show a random direction in respect to where I was pointing, but I made do like the many before me with a physical map, got my bearings, and trekked onwards. I was greeted, given the necessities for my stay, and the night was concluded. When I woke, I searched for any stores that were open in the morning of the festive day. I found a cafe that served me coffee and Spanish pastries. I grabbed more carbonara bread (with Spanish jamón) before I left, and made my way back to the apartment. After pausing to get a large bottle of Aquarius juice from a fruit vendor, I stopped in a church nearby, attending a full mass. The mass ended, and I found myself back in my quarters, looking for somewhere to go, as the museums and major attractions were closed for the day. I settled for a route that included outdoor public spaces, like the center of the city and the Temple of Debod. The temple was gifted by the Egyptians to the Spanish. On the way back, I walked the Gran Via street, famous for its shopping outlets and theaters, finding myself at the same subway stop I got off of to go to the temple - Plaza de España. So began my unwinding, to take some Campo Viejo wine back to the place I made my base, and to wait for the next day’s schedule of open-for-business attractions. The evening sunk in, dinner time rolled around, and I found a restaurant named Lateral, where I tried a cold tomato soup (not quite gazpacho, apparently) called salmorejo, in which the primary ingredient is mixed with a bread base. The addition of jamón, egg crumbles, and oil were a nice touch to the dish. I walked back to the AirBnB, drank more wine while watching music videos, and signed into my Disney+ account to watch Maleficent. I found the movie’s introduction to the villain to be quite touching, though I also began looking forward to Disneyland Paris in two and half weeks or so, exploring the interior of the Sleeping Beauty castle, with or without the new perspective found in the 2014 adaptation.

1/2/22

The morning began much like yesterday’s, as I went to the same cafe, and had a bocadillo sandwich with an Americano. This time, I went past Sol, the city center, on the subway, to the Estación del Arte, which is the subway stop for various museums nearby. I began with the Reina Sofia Museum, which is headlined by Picasso’s mural, Guernica. The visit took about an hour. I headed to the Prado Museum, after that. This museum was the largest of the three I visited, and I saw several well-known works - Las Meninas, for example. I went to get my ticket for the Thyssen-Bornemisza Museum, which I was keeping an eye on online, to see if they would sell out - I was scheduled for a later time to view their exhibition of René Magritte’s work. I took a bus further north towards a Deutsche Bank, and withdrew cash. I stopped by a Carl’s Jr. (est. 1941 in California), and got six Chicken Stars and a drink (I was more thirsty than hungry, I thought). I took the bus back towards the Thyssen-Bornemisza and strolled through the entire general collection (there was a U.S.A. gallery), before my scheduled entry into The Magritte Machine. In the nearby Retiro Park was a big monument and the park’s Palacio de Cristal, which is a building made mostly of glass. By the time I got to the park, my primary camera (I would consider my phone secondary) gave me an error message about attaching the lens incorrectly. I walked a lot throughout the trip. The total distance walked was about 11 miles, according to my phone. The subway trip back was just one line without transfers. I bought three Dunkin doughnuts, Oreo cookies, and Aquarius juice, in preparation for the next day’s trips to Segovia (about 40 miles north of Madrid) and Toledo (about 40 miles south). Segovia is the setting for Hemingway’s novel For Whom the Bell Tolls. I ate dinner at an Ecuadorian restaurant near the apartment - I had rice with shrimp (cilantro was key).

1/3/22

I didn’t sleep through the night - I woke up twice. The second time, I didn’t go back to sleep. I ended up eating all of the doughnuts I had, during the night. I stayed up for around three or four hours before my scheduled tour’s meeting time. The two cities on the itinerary were in opposite directions of Madrid, so the amount of time spent driving was high. We began with Segovia to the north. It was wonderful. I learned a lot about the history of the Iberian peninsula, from the guide on the way, and of the forces that controlled its development from the fifth century B.C. Key landmarks in Segovia were the aqueduct, the cathedral, and the alcazar castle. The tour mixed guided walking with free time to explore the city. After Segovia, the tour headed to Toledo. Toledo, the former capitol of Spain, also began its history around the fifth century B.C. Present in the city was evidence of Muslim, Jewish, and Christian influences, with some of the city restored after bombings in the nearer past. The tour group consisted of people from around the world, and four of us, American, lunched together by ordering a native dish of Toledo, carcamusa - the pork soup was very good. I also asked for Domus beer, which is Toledo-based. The guided tour took us through the inner city, and ended at the city’s cathedral, the second largest in Spain. We were given more free time to explore. The trip, including the drive to and from the two cities, was about 12 hours, but I wasn’t tired at the end of it. Back in Madrid, I took the subway by the rendezvous point, and transferred lines at the Gran Via station to return back to a more familiar neighborhood than three days before. I stopped by a market to get bread, jamón, and Aquarius juice, to eat in. The weather forecast called for rain for the next day, and, possibly, for the day after that.

1/4/22

I woke up early again. I decided to eat the remaining jamón bocadillo sandwich (made from the previous day’s purchase), before falling asleep again. I woke up in time to take the subway to the Ópera station (and finish an Americano from Starbucks), before my scheduled entry into the Palacio Real. The gardens next to the palace were undergoing renovation. The palace was extravagant. I walked through various antechambers, meeting rooms, a dining hall, and a throne room. One section of the palace housed Stradivarius instruments, and in an adjacent room was the royal crown. I walked through the armory and left the palace, towards the Plaza Mayor. It was lunchtime, so I had a calamari bocadillo sandwich with a glass of Mahou beer. I wandered towards, and ended up at, the Sol subway station, and headed back to the apartment, where I waited. It began to rain, but the rain stopped before a parade, held in honor of the liturgical three kings in the Christian faith, began. Police escorted a band (that played the song Feliz Navidad as it approached), costumed characters, and several floats, from which participants waved - some threw confetti. After the parade, I went to a jamonería and got a chorizo bocadillo. I cut it in half at the apartment for my dinner. I went to get more Aquarius juice. At around 11:00 in the nighttime, I went to another street with some nightlife. The clubs were closed at the time, and I found myself at Manabar. I got two drinks there, and met Juan, Jesús, and Jaime. Jaime let me take note of some of the DJs he was interested in. For most of the second drink, I was talking to Victor, Mara, and Soledad. We discussed a lot - not only about the politics relevant to our nationalities, but also about traveling here and there. I exchanged numbers with Mara, who said, laughing, that she and Victor were a couple. We agreed to communicate, either to meet again in the near future of my travels or to keep in touch further off, as we went on. We parted ways, and I headed back to the apartment. I set down my things and changed, and it was at this point that I received a reply from the Nuit nightclub. It said that the club was open for business. I decided I was neither drunk nor tired, and collected myself, leaving the apartment again at around 2:00 in the morning. The bouncer there turned me away, so I began looking for somewhere else to go, when I was approached by a solicitor for another club. I agreed to take the walk there, and found myself in Venus, with two ladies inside. They approached me. I spoke with them for a while, finished my strong drink, and headed back to the apartment. My opinion, while making conversations throughout the night, was that my Spanish was not too bad, but English took up the majority of the discussions (I introduced myself as American). Translations were made, and questions about what we meant were asked here and there.

1/5/22

I didn’t sleep, the entire night. At around 9:00 in the morning, I still wasn’t tired. I had the half-sandwich, from the previous night, for breakfast, and afterwards, went further south in the city, to the Pirámides subway station. I avoided having coffee. I chose to walk the night off at the park next to the Río Manzanares. I crossed a bridge and walked part of the southern (divided by the river) side of the park (which runs along the river), into the sunlight, first. I chose a stopping point on the north side of the river called the Palacio Cristal de la Arganzuela, to cross the river, turn around, and return to the station. The building was a greenhouse. It contained four separate climate zones, based on weather conditions from around the world. The final room I visited had some cacti and palm trees, both originating from the United States of America. I headed back to the Pirámides station. On the same subway line was the La Latina stop, where I got off and looked for any signs of El Rastro, the flea market held on Sundays and holidays, but it was not a holiday. Before leaving, I looked up things to do in the La Latina area, and after staring blankly at my phone for a while next to the stairs for the subway system, I boarded a train going to the Alvarado station, to get to the apartment. Later in the day, it began to rain. A good amount of time had passed since I had breakfast. I went to a restaurant close by, which served multi-course meals. Two men outside the restaurant recommended the cocido soup and the cocido completo, which was a plate of different cuts, including several I could not identify. The entree tasted like old-fashioned cooking, from before the times of processed food. The meat took up most of a large oval plate, and garbanzo beans filled in the rest. I didn’t finish the plate. The rain continued, and the big parade, known as the Cabalgata de los Reyes, began. I began to watch the celebration on TV. I went to get more Aquarius juice, but eyed out a 2L bottle of Sprite for €1. Tax on it was €0.45. I returned to the apartment, and the parade was still taking place. I fell asleep around the same time the parade ended, about 36 hours after waking up the previous day.

1/6/22

The day started out slowly, as it was a national holiday. The epiphany, or the Día de los Reyes Magos, is the holiday that is held in honor of the revelation that Jesus Christ was born as the savior. I started the day off with Burger King, and there was a discount for buying two burgers, so I did. I ate the vegetable Whopper at the apartment. I then went to mass, and entered the church while the gospel reading was ending. I looked up the readings and they had to do with the epiphany. After mass, I went back, mixed Sprite with a diminishing bottle of Cune wine, and later, had the normal Whopper. I went to the three gaming salons nearby, and lost a total of €145. I hoped to have more luck in Monaco, as I laid in bed after the short walk back. I checked my bank account, and the purchases on my credit card (no connection to the losses of the day) had begun to surpass the $250 amount in reward credit that I got for opening the card and spending $1000, which told me I had gone through over $400 on my trip so far, excluding purchases I made before I left. There was also a transaction fee posted to my checking account for the cash withdrawal that I made earlier in the week, which I thought would not happen at Deutsche Bank. I did a quick estimation, and I had spent about $2600, including reservations for the future (flights and stays) of my journey. For dinner, I went to the Iguazú bar across the street. I ordered secreto, a cut of pork, with fries. There were a few people inside, when two men, who were standing and drinking at the counter, were told politely to have a seat at the table next to mine. They did, and I initiated conversation, asking one if he was a Madrileño, a person from Madrid. An employee from the restaurant asked him not to talk to me across tables, as he went out, possibly done with his shift for the night. The man got pretty upset and started swearing, and the other man and I calmed him down. “Todo bien,” I said, as we continued talking. I finished my dinner, and ordered another drink, which was rum with Coca-Cola. After a few minutes (with a bit of conversation), the man, who seemed really drunk, began arguing with another employee, his previous discontentment still apparent, but diminished in regard to his newfound anger. He yelled, swearing, and threw his glass in the direction of the employee. The other man who sat with him held him back, taking him out of the establishment, as the employee ordered the man to leave. As I left, done with my drink, another man asked if the bar was open (they had pulled down the metal gate while I was inside, after the incident), and I told him he needed to ask. I told him about the fight, a “pelea,” and about what happened. The employee, whom the glass projectile was thrown towards, said he would need a minute. The inquirer stayed outside, me with him, and we introduced ourselves. He bought me a beer, with his (the bar served Amstel on tap), and we drank it at an outdoor table. He finished it, while I was about halfway done, then went into the same apartment complex I was staying at. I finished the beer and then returned to my room. Mara texted me back, as I was laid down, that we might do something the next day. Alba had left me some sweets. On a plate was part of a roscón, which I would describe as a cake, due to its size. Underneath the plate were traditional Spanish candies. One case was filled with marzipan - which, according to the tour guide on the Toledo trip, originated from, or was invented in, Toledo. The other case contained toasted egg yolk nougat. Alba, Miguel (her companion), and I watched the Atlético de Madrid soccer team win 5-0 over Majadahonda.

1/7/22

For breakfast, I went to a churrería/chocolatería and ordered four churros, coffee, and chocolate sauce. The churros were pretty good, while the chocolate and coffee had me feeling pretty wired. I had considered going to the Estadio Santiago Bernabéu, earlier in the week, and decided to go. The stadium is home to the Real Madrid CF. When I got there, workers were renovating the top of the stadium, and much of the surrounding sidewalk was closed off for the project. The tour began at an entry point in a corner of the stadium, and ended at the opposite side. Open was a seating section, so that visitors could see the interior of the stadium. The tour proceeded alongside a trophy wall, which spanned the (longer) side of the stadium. There was also a presentation about the renovation that was happening while we were there. A model of the stadium showed things as they were, after a video presentation about the team’s history. The circular video screen descended around the model, and the presentation continued. When the screen was lifted, another model, which showed a renovated stadium, was in the center. The new model had a walled exterior, as opposed to the more open facade of the previous exhibit. The roof also looked renovated. The tour made its way to the store, and I walked back. I had eaten a lot the previous day, and was unsure of my dinner plans, so I didn’t eat. I opened the box of marzipan treats, and had two. It tasted familiar, and good. The weather forecast for the rest of my trip was available, and it didn’t show any high probabilities of rain, except for Monday (1/10/22) in Barcelona. I had an early dinner. I went to a nearby restaurant, named Bar Barroja. I started with zucchini-cream soup, followed by fried pork (stuffed with jamón and cheese). It was good, as was the dessert, layered flan and cookie, covered in chocolate. If I were to go again, I’d try the steak. The wine was named 12 Lunas, and I was glad I had it. I went to get more Aquarius juice, and Mara messaged me. She wished me a great time in my travels. I went to the Iguazú bar, and ordered several shots of Veterano, Spanish brandy, followed by rum with Coca-Cola. The owner and I talked for a bit, and he gave me an Iguazú-branded shirt (He was from Iguazú, Argentina). Later in the night, I decided to stay awake, and watched Lady and the Tramp - it might not have been a good idea to go out again, even though it was a Friday night.

1/8/22

I packed my things, and ate marzipan treats for breakfast. I told Alba to message me, if she visits California or Las Vegas. I thanked her, and headed to the Nuevos Ministerios subway station, to board a line to the airport. I went through security, and waited for my gate information. The egg yolk nougat tasted like pancakes saturated with sugar. I had half the bar, while listening to the artists Jaime recommended - Amelie Lens, Charlotte de Witte, and Deborah de Luca. The boarding process was delayed, as was the flight.

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portaldiario · 5 years

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Tiene Secretaría de Trabajo como tarea fortalecer al sector productivo

Redacción

Durante una visita a la empresa La Vasconia, la Secretaria del Trabajo, Martha Hilda González Calderón, resaltó la confianza y respaldo de los inversionistas y sindicatos por seguir fortaleciendo al sector productivo y generando oportunidades para los mexiquenses.

Al reunirse con el Director General de La Vasconia, Marcelo Rodríguez Segovia, la Directora de Recursos Humanos, Renée Margarit, e integrantes de la Federación Nacional de Trabajadores “Plácido Mendoza”, encabezados por Salomón Mendoza, expresó que es importante mantener la unidad entre los sectores privado, público y sindicatos, ya que de esta forma habrá acuerdos que permitan mantener la estabilidad laboral.

Acompañada por el Presidente de la Junta Local de Conciliación y Arbitraje del Valle Cuautitlán-Texcoco, Jesús Farías Muñoz, la funcionaria estatal dijo que se busca seguir creando las condiciones laborales que propicien un pleno desarrollo de los mexiquenses.

De igual manera, la Secretaria del Trabajo puso a disposición de esta empresa los cursos que ofrece el Instituto de Capacitación y Adiestramiento para el Trabajo Industrial (ICATI), con el propósito de que en un futuro contraten a personal altamente calificado.

“Quienes se capacitan en las Escuelas de Artes y Oficios de esta zona del Estado de México, es personal altamente calificado y preparado para integrarse a la planta laboral”, sostuvo González Calderón.

Por su parte, el Director General de La Vasconia, Marcelo Rodríguez Segovia, destacó que actualmente cuenta con mil 600 trabajadores, de los cuales mil 400 están en su planta del Estado de México y el resto en Querétaro.

Indicó que abonan a la estabilidad laboral, pues es muy poca la rotación de trabajadores y en los últimos nueve años no se han registrado demandas. En todo momento se está en constante comunicación con el sindicato para llegar a acuerdos y continuar siendo muy productivos. (Foto: Especial Portal)

#recomendamos

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periodicoirreverentes · 4 years

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Dolor de cabeza

Francisco José Segovia Ramos

El nacimiento de Minerva (Atenea) (1688)-René-Antoine Houasse

Hay días, como el de hoy, que me duele la cabeza terriblemente. Un dolor intenso, continuo, persistente. Afortunadamente nunca dura más de unas pocas horas pero no es este el caso: llevo así más tiempo del que debiera, y eso me preocupa.

Me tomo un elixir para calmar los dolores, aunque dudo que tenga…

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#Francisco Segovia

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keithdcourtney · 5 years

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Top 25 Classical Guitarists

The challenge of listing the top 25 classical guitarists is that there is such a deep history in classical guitar, how far back do you go? Do you limit it to the current players? But then that doesn’t work – I mean, how could you leave Segovia out (as you would have to do)?

Instead, this list blends the great players from across the twentieth century, and few players from before. It is international, and addresses different styles, from Baroque-influenced to Spanish to contemporary.

There are so many other great players out there – please add your favorite to the list below!

Enjoy.

Here We Go… The List.

Andrés Segovia (1893-1987)

Andrés Segovia, Spanish musician acclaimed as the foremost guitarist of his time. He was the most important force in reestablishing the guitar as a concert instrument in the 20th century, chiefly through demonstrating its expressive and technical potential. He continued giving concert performances past the age of 90.

Link to Wikipedia

John Williams

John Christopher Williams, OBE (born 24 April 1941) is an Australian virtuosic classical guitarist renowned for his ensemble playing as well as his interpretation and promotion of the modern classical guitar repertoire. In 1973, he shared a Grammy Award in the Best Chamber Music Performance category with fellow guitarist Julian Bream for Julian and John (Works by Lawes, Carulli, Albéniz, Granados). Guitar historian Graham Wade has said: “John is perhaps the most technically accomplished guitarist the world has seen.”

Official Website

Julian Bream

Proclaimed by many students of classical music as the premier guitar and lute virtuoso of the 20th century, Julian Bream was born in London in 1933. After studying at the Royal College of Music, he made his public debut in 1950, quickly winning fame for his technique and mastery of a wide range of musical styles. In 1960, he founded the Julian Bream Consort, an ensemble of original instrument virtuosi which enjoyed astounding success in their chosen oeuvre, greatly revitalizing interest in the music of the Elizabethan era. Named an Officer of the Order of the British Empire in 1964, Bream was then named a Commander of the Order of the British Empire two decades later.

Link to Wikipedia

Jason Vieaux

Grammy-winner Jason Vieaux, “among the elite of today’s classical guitarists” (Gramophone), is the guitarist that goes beyond the classical. NPR describes Vieaux as, “perhaps the most precise and soulful classical guitarist of his generation.” Among his extensive discography is the 2015 Grammy Award winning album for Best Classical Instrumental Solo, Play, from which the track “Zapateado” was also chosen as one of NPR’s “50 Favorite Songs of 2014 (So Far)”.

Official Website

Francisco Tárrega (1852-1909)

Francisco Tárrega was an important Spanish composer whose music and style of guitar playing became strongly influential in the 20th century. He was central to reviving the guitar as a solo instrument in recital and concerts. Among his most popular compositions are Recuerdos de la Alhambra and Danza mora. He wrote nearly 80 original works for the guitar and over 100 transcriptions, mostly of piano pieces by Chopin, Beethoven, and others.

Link to Wikipedia

Pepe Romero

Pepe was born in Málaga, Spain, in 1944. In those days, following the devastating Spanish Civil War (1936-39) and during the Second World War, Spain was in desperate economic straits. Basic survival was the primary challenge. Yet, despite this, Celedonio Romero and his remarkable wife, Angelita, instilled in all three of their children a love of music that transcended the profound misery surrounding them.

Official Website

David Russell

The Scottish guitarist, David Russell, was born in Glasgow, and while still very young (age 5), moved with his parents to Menorca, a Spanish island in the Mediterranean. His father, an artist, was an avid amateur guitarist. It became natural for David to pick up the instrument, and his father began to teach him to play it. He cannot remember when he did not play the guitar. Before he could read music, he could play the pieces by ear that he had learned from listening to Andrés Segovia recordings. When he got somewhat older he also learned to play violin and French horn.

Official Website

Xuefei Yang

The Chinese guitarist, Xuefei Yang ((Fei)), began playing the guitar when she was 7. Three years later, she started studying under Chen Zhi, the Chairman of the China Classical Guitar Society. She made a public debut at the age of 10, at the First China International Guitar Festival, where she met with an immediate acclaim. At her debut, one of the most respected luthiers, Masaru Kohno, presented her a guitar, Pepe by Aria; it was her first foreign-made guitar. The next achievement that she made was a second prize at the Beijing Senior Guitar competition; at that time, she was only 11. As a schoolgirl, Yang rapidly achieved an international reputation, playing extensively in China, Hong Kong, Macau, Spain, and Australia, and giving concert tours in Taiwan, Japan and Portugal. At twelve, she played in Tokyo for the first time, and was given a special award by the Guitar Alliance of Japan. Masaru Kohno, this time, took Yang to his studio and asked her to take any guitar with her. She played the Kohno guitar, made of cedar and jacaranda, regularly over the next five years. During her Madrid debut at age 14, the composer Joaquín Rodrigo was among the audience; in 1995, after John Williams listened to her performance in Beijing, he was so impressed that he loaned two of his own Greg Smallman guitars to her conservatory, for her and other top students to play.

Official Website

Christopher Parkening

Christopher Parkening is celebrated as one of the world’s preeminent virtuosos of the classical guitar. The Washington Post called him “the leading guitar virtuoso of our day, combining profound musical insight with complete technical mastery of his instrument.” The New York Times described his playing as “so intelligent, sensitive and adept that one can forget everything but the music.Parkening’s performances, recordings, and collaborations, which have included artists such as Kathleen Battle, Renée Fleming, Placido Domingo, Josh Groban, Jubilant Sykes, and composers/conductors John Williams and Elmer Bernstein, have received the highest worldwide acclaim. A frequent soloist with leading orchestras, Parkening has performed at the White House and appeared on 20/20, The Today Show, The Tonight Show, Good Morning America, and The Grammy® Awards.

Official Website

Sharon Isbin

The American guitarist, Sharon Isbin, began her guitar studies at age 9 in Italy. She was a student of Andrés Segovia, Oscar Ghiglia and Alirio Díaz. A former student of Rosalyn Tureck, Isbin collaborated with the noted keyboardist in preparing the first performance editions of the Bach lute suites for guitar (published by G. Schirmer). She received a B.A. cum laude from Yale University and a Master of Music from the Yale School of Music. She was the 1st Prize winner of the Toronto Guitar 1975 competition, a winner of the Madrid Queen Sofia, and the first guitarist ever to win the Munich Competition.

Official Website

Fernando Sor (1778-1839)

Fernando Sor, original name (Catalan) Josep Ferran Sorts i Muntades, also called (Spanish) José Fernando Macarurio Sors or (English) Joseph Fernando Macari Sors, (baptized February 14, 1778, Barcelona, Spain—died July 10, 1839, Paris, France), Catalan Romantic performer, composer, and teacher of guitar known for being among the first to play the guitar as a classical concert instrument and for writing one of the earliest books of guitar-playing methodology. He was a noted guitar virtuoso.

Link to Wikipedia

Ana Vidović

The Croatian guitarist, Ana Vidović, started playing guitar at the age of 5, and by 7 had given her first public performance. At the age of 11 she was performing internationally, and at 13 became the youngest student to attend the prestigious National Musical Academy in Zagreb where she studied with Professor Istvan Romer. Ana’s reputation in Europe led to an invitation to study with Manuel Barrueco at the Peabody Conservatory where she graduated in 2005. She has won an impressive number of prizes and international competitions including first prizes in the Albert Augustine International Competition in Bath, England, the Fernando Sor competition in Rome, Italy and the Francisco Tarrega competition in Benicasim, Spain. Other top prizes include the Eurovision Competition for Young Artists, Mauro Giuliani competition in Italy, Printemps de la Guitare in Belgium and the Young Concert Artists International Auditions in New York.

Official Website

Manuel Barrueco

The legendary Manuel Barrueco is internationally recognized as one of the most important guitarists of our time. His unique artistry has been continually described as that of a superb instrumentalist and a superior and elegant musician, possessing a seductive sound and uncommon lyrical gifts.His career has been dedicated to bringing the guitar to the main musical centers of the world. During three decades of concertizing, he has performed across the United Sates from the New World Symphony in Miami to the Seattle Symphony, and from the Hollywood Bowl with the Los Angeles Philharmonic to New York’s Lincoln Center. He has appeared with such prestigious orchestras as the Philadelphia Orchestra and with the Boston Symphony under the direction of Seiji Ozawa, in the American premiere of ToruTakemitsu’s “To the Edge of Dream.” In addition, he appears regularly with the Baltimore Symphony Orchestra and with San Francisco Performances.

Official Website

Agustín Barrios (1885-1944)

Agustín Pío Barrios was born in southern Paraguay on 5 May 1885, and died on 7 August 1944, in San Salvador, El Salvador. To many, Barrios was the greatest of all guitarist/composers. In view of this, it is curious that his music lay undiscovered and unappreciated for over three decades after his death. In the mid-1970s comprehensive editions of his music appeared, making it possible for guitarists of a younger generation to study his music, augmenting and complementing more traditional repertoire. The revival began in 1977 with a release by John Williams of an entire recording of music by Barrios, bringing overdue recognition to this forgotten Latin American guitarist. Today Barrios’ music is frequently performed by major concert artists and is appreciated by audiences worldwide.

Link to Wikipedia

Narciso Yepes (1927-1997)

Narciso Yepes was one of the finest virtuoso classical guitarists of the twentieth century, generally ranked second after Andrés Segovia. Despite a strong interest in music from the Baroque period, his overwhelming preference was for the serious compositions of Spanish composers from the early twentieth century, though he also showed interest in flamenco music. He displayed a special fondness for the works of Joaquín Rodrigo and was instrumental in the rediscovery of many previously neglected Baroque compositions. He also achieved distinction as a composer, especially in the realm of film music.

Link to Wikipedia

Mauro Giuliani (1781-1829)

The Italian guitar virtuoso Mauro Giuliani settled in Vienna in 1806. There he exercised strong influence over the progress of the instrument, as a teacher, performer and composer. He left Vienna in 1819, spending some four years in Rome before retiring to Naples, where he died in 1829.

Link to Wikipedia

Ferdinando Carulli (1770-1841)

Ferdinando Maria Carulli was one of the most influential composers for classical guitar as well as the author of the first complete classical guitar method. He wrote a variety of works for classical guitar, including concertos and chamber works. He was an extremely prolific writer for guitar, writing over 400 works for the instrument in the space of twelve years.

Link to Wikipedia

Eliot Fisk

The American guitarist, Eliot Fisk, was the last direct pupil of Andrés Segovia and is the holder of all reproduction rights to A. Segovia’s music, given to him by A. Segovia’s wife, Emilia. After attending Jamesville-Dewitt High School in Dewitt, New York, Fisk also studied interpretation under harpsichordists Ralph Kirkpatrick and Albert Fuller at Yale University, where he graduated summa cum laude in 1976. After graduation, he was asked to form the Guitar Department at the Yale School of Music. He was the winner of the International Guitar Competition in 1980.

Official Website

Miguel Llobet (1878-1938)

Llobet was born on October 18, 1878, in Barcelona, Spain. Though he turned to the guitar at the relatively late age of 11, he had studied both piano and violin from his early childhood. His first teacher was Magín Alegre; by 16 Llobet was studying with Francisco Tárrega at the Barcelona Municipal Conservatory of Music.

Link to Wikipedia

Alirio Díaz (1923-2016)

Alirio Diaz was one of the true masters of the Spanish guitar. A student of Raul Borges, the originator of Venezuela’s Spanish guitar tradition, in the late-1940s, Diaz garnered international acclaim for his instrumental wizardry.

Official Website

Liona Boyd

Five time Juno award winner, Liona Boyd, ”The First Lady of the Guitar”, has enthralled millions with her romantic and unique brand of classical, folk and world music. She has performed solo and orchestral concerts around the world, had her own television specials, and recorded twenty-eight albums, many of which have gone Gold and Platinum. Her total views on YouTube are over six million. A new album of original songs, No Remedy for Love was released in 2017 by Universal Music, along with a new autobiography, also titled No Remedy for Love, from Dundurn Press.

Official Website

Paul Galbraith

Internationally renowned, Paul Galbraith is one of the finest active guitarists today, as well as a brilliant innovator. With the help of the eight-string “Brahms Guitar”, an instrument he developed together with David Rubio, he has expanded both the limits of the instrument and the quality and breadth of its repertoire. Several highly acclaimed recordings attest to these developments, as well as to his searching artistic temperament and mastery.

Official Website

Marcin Dylla

Hailed by Washington Post as “among the most gifted guitarists on the planet” Polish guitarist, Marcin Dylla is a rare phenomenon in the recent history of Classical Guitar. Many music critics, connoisseurs, and music lovers certify that Marcin Dylla is among the world’s elite of classical guitar players. He has earned this position, among others, to the unparalleled number of awards including 19 First Prizes from 1996-2007 at the most prestigious international music competitions around the world. His last triumph was the Gold Medal of the ‘2007 Guitar Foundation of America International Competition’ in Los Angeles known as the most prestigious guitar contest in the world followed by tour of over 50 cities in North America, Mexico and Canada during 2008-09 season, live recital video recording for Mel Bay Publications and CD recording for Naxos that reached the Naxos ‘Top 10 Bestselling Albums’ in September 2008. His live recital DVD “Wawel Royal Castle at Dusk” was nominated for 2010 Fryderyk Award (equal to American Grammy) in the category of Solo Classical Music Album of the Year.

Official Website

Ángel Romero

Ángel Romero is a Spanish classical guitarist, conductor and former member of the guitar quartet Los Romeros. He is the youngest son of Celedonio Romero, who in 1957 left Spain for the United States with his family.

Romero made his professional debut at the age of six. At the age of sixteen, at his United States debut, he appeared as the Los Angeles Philharmonic’s first guitar soloist, giving Joaquín Rodrigo’s Concierto de Aranjuez its premiere for the US West Coast. He has studied conducting with Eugene Ormandy, the conductor of the Philadelphia Orchestra.

Official Website

Kazuhito Yamashita

Kazuhito Yamashita is a Japanese classical guitarist. His technique and expression are highly acclaimed. By the age of 32, Yamashita had already released 52 albums, including repertoires for solo guitar, guitar concertos, chamber music and collaborations with other renowned musicians such as James Galway. To date, he has released a total of 83 albums.

Link to Wikipedia

Bonus!

Dušan Bogdanović

A richly gifted composer, improviser and guitarist, Dusan Bogdanovic has explored musical languages that are reflected in his style today- a unique synthesis of classical, jazz and ethnic music. As a soloist and in collaboration with other artists, Bogdanovic has toured extensively throughout Europe, Asia and the United States. His performing and recording activities include work with chamber groups of diverse stylistic orientations including The Falla Guitar Trio and jazz collaborations with James Newton, Milcho Leviev, Charlie Haden, Miroslav Tadic, Mark Nauseef, Anthony Cox and others. He has over fifty published compositions ranging from guitar and piano solo works to chamber and orchestral ensembles (Berben, GSP, Doberman-Yppan et al.), as well as close to twenty recordings ranging from Bach Trio Sonatas to contemporary works (Intuition, GSP, Doberman-Yppan, M.A. Recordings et al.).

Official Website

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revistapresenciaacapulco · 6 years

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La Presidenta Nacional de Grupo Reto, Maité Beorlegui con las integrantes de Grupo Reto Acapulco

POR ANDREA CAMPOS

La sociedad acapulquense demostró una vez más su apoyo a la noble causa del Grupo Reto durante el desayuno a beneficio que se realizó en el Roof Garden del Grand Hotel el cual está enmarcado en el Aniversario 30 de dicha Asociación Civil cuya misión es la rehabilitación de mujeres masectomizadas.

Como año con año, el Grupo Reto organiza el desayuno a beneficio, destacó Silvia Rodríguez Guerrero, Pdta. de Grupo Reto Acapulco. “Ampliar Casa Reto, porque es mucha la población que acude, ese es nuestro objetivo. Los martes de rehabilitación, acuden 30 a 32 personas. Reciben terapia Psicológica, Medicina física, turbantes, pelucas, prótesis, para que la mujer completamente se recupere. Nuestro lema es cambiar una lágrima por una sonrisa”, y es precisamente ese lema el que más motiva a las voluntarias y su presidenta a seguir trabajando por las mujeres masectomizadas, explicó la Pdta. Silvia Rodríguez en entrevista.

Presidenta Nacional, Maité Beorlegui, con la Presidenta de Acapulco, Silvia Rodríguez, ambas del grupo Reto

Durante el desayuno predominó el ambiente de fiesta, hubo baile, música en vivo, rifas para los asistentes, lo que fue motivo de alegría para todos los presentes. En el evento estuvo presente la Presidenta Nacional de Grupo Reto, Maité Beorlegui, quien quedó muy impresionada de ver el apoyo de la sociedad.

Actualmente se necesita más apoyo de donadores, de la ciudadanía para formar parte del voluntariado y pueden hacerlo visitando la calle Necaxa 40 o comunicándose al teléfono 445 5008, de 10 am a 1:30 pm.

Lolita Elías Rincón, Gpo. Optimistas; Ethel Correa, Dir. CIJA Punta Diamante; Psic. Letiia Guerrero Cortés, Pdta. del Colegio de Psicólogos del Edo. de Gro. (de pie); Olivia Alarcón, Editora de Vanguardia; Elsa Zamora acompañada de una amiga

Grupo del IMSS del Área de la Jefatura de Salud y del Trabajo Prestaciones Económicas

Edith Justo, Paty Segovia, Ma. Esther Godoy, Silvia Arce, Ofelia Palacios, Ángeles Espinobarros, Elizabeth González, Gloria Sierra, Concepción Dávila y Gloria Cuevas

Capítulo Guerrero de la Asociación de Mujeres Empresarias de México, con su Presidenta Alma Peñaloza, apoyando a Grupo Reto

Emma Reyes, Grace Córdoba, Conchita Murillo, Lilia Badillo, Xóchitl Murillo, Ale Badillo y Lupita Zamacona

Mujeres Empresarias COPARMEX Capítulo Acapulco presentes en el desayuno de Grupo Reto

Elsa Zamora, Rossana Paco, Rosy Paloalto y Ethel Correa

Bertha Bornios, Maricarmen Rodríguez, Abraham Pita y Lilly Ávila

Marco Antonio Jiménez López, Director del Instituto Estatal de Cancerología; C.P. Miguel Ángel Flores Beltrán, Contralor Interno del IECAN, y Lic. René Maldonado Sánchez, encargado de la Unidad de Asesoría Jurídica

Hilda Santes, Roberto López y Maité Beorlegui, Presidenta Nacional de Grupo Reto

Recibe apoyo Grupo Reto Acapulco durante desayuno benéfico POR ANDREA CAMPOS La sociedad acapulquense demostró una vez más su apoyo a la noble causa del Grupo Reto durante el desayuno a beneficio que se realizó en el Roof Garden del Grand Hotel el cual está enmarcado en el Aniversario 30 de dicha Asociación Civil cuya misión es la rehabilitación de mujeres masectomizadas.

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diegomolinart-blog · 7 years

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PANSPERMIA 24 HORAS DE CREACIÓN Junio 2017

“PANSPERMIA: 24 horas de creación¨ El 8 de junio del presente año, el Museo de la Ciudad abrirá sus puertas a la obra de doce artistas, quienes luego de 24 horas de creación presentarán a la ciudadanía la exposición de arte “Panspermia”. La Alcaldía de Cuenca y su Dirección Municipal de Cultura, han organizado para junio esta interesante muestra que pone en escena el trabajo de doce artistas quienes, a partir de la obra del reconocido ceramista Eduardo Segovia, han creado una serie de trabajos inspirados en la teoría de la Panspermia la cual propone el origen cósmico de la vida, dada en alguna parte del universo y trasladada a la tierra en fragmentos rocosos o polvo estelar, donde han “germinado” seres únicos. A decir de María Gabriela Vázquez, curadora de la muestra “Eduardo Segovia, a través de su búsqueda constante, imagina a estos seres y los plasma en piezas inéditas que emplean la arcilla como herramienta de expresión; e induce al espectador a viajar por un mundo onírico y de fantasía. En paralelo, un grupo de artistas emergentes conviven en un encierro creativo de 24 horas de duración para producir reinterpretaciones de estos seres y romper con la idea de un origen cerrado. Son doce obras creadas por mentes multidisciplinarias que asocian a la Panspermia con inventiva, pasión e imaginación devenida de viajes interiores y estéticos”. Esta exposición reunirá a artistas como René Martínez, Budoka, Diego Molina, Gabriela Bravo, Priscila Urdiales, Cometa, Stalyn Quito, Zami Guzmán, Paúl Castro, Peter Dudar, Sally Marr y por supuesto Eduardo Segovia; quienes han concebido sus obras empleando técnicas como pintura, cerámica, ilustración, dibujo, tintas, instalación o música. La cita tendrá lugar el jueves 8 de junio de 2017, a las 19:00, en el Museo de la Ciudad (antigua Escuela Central). La muestra permanecerá abierta al público hasta el 7 de julio del presente año.

Mas Información, Diario El Mercurio:

http://www.elmercurio.com.ec/615027-exhibiran-muestra-artistica-producto-de-encierro-creativo/

#panspermia #ilustracion #extraterrestres #illustration #exhibition #eduardosegovia #ceramica

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elchaqueno · 20 days

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"Empresarios de Tarija piden congelar incremento salarial para evitar despidos y cierre de empresas"

El presidente de la Federación de Tarija, René Segovia, advirtió sobre las consecuencias de un posible incremento salarial en el país, afirmando que podría generar despidos, cierre de empresas y mayor desocupación. En este sentido, el empresariado nacional ha pedido al gobierno congelar cualquier posibilidad de aumento este año, debido a la falta de condiciones económicas para cumplir. Segovia…

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#cierre de empresas #COB #despidos #Divisas #Empresarios #Exportaciones #Gobierno #importaciones #Incremento salarial #René Segovia #Tarija

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sanfcodeasis-blog · 7 years

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COLONIA DE CASTORES. Recordamos juntos a los dirigentes?...

AÑO 1988:

Marité (Erna) – Sandra (Yantay) – (Silvia (Tabum) – Elizabeth (Bangui)

AÑO 1989:

Silvia (Tabum) – Dani (malak) – Sandra (Yantay) – Paula (Tic Tac)

AÑO 1990:

Dani (Malak) – Paula (Tic Tac) – Silvia (Tabum)

AÑO 1991:

Dani (Malak) – Paula (Tic Tac) – Silvia (Tabum) – Veronica (Erna)

AÑO 1992:

Dani (Malak) – Paula (Tic Tac) – Silvia (Tabum) – Veronica (Erna)

AÑO 1993:

Silvia (Tabum) – Paula (Tic Tac) – Marcelo Arribas

AÑO 1994 Y 1995: -Rama Cerrada-

AÑO 1996:

René (Malak) – Romina (Tabum)

AÑO 1997:

René (Malak) – Romina (Tabum) – Paula (Tic Tac)

AÑO 1998:

René (malak) – Romina (Tabum) – Paula (Tic Tac) – Silvia (Bangui) – Natalia (Erna) – Valeria (Yantay)

AÑO 1999:

René (Malak) – Romina (Tabum) – Paula (Tic Tac) – Natalia (Erna) – Valeria (Yantay)

AÑO 2000:

René (Malak) – Andrea (Tabum) – Fernanda (Yantay) – Diego (Panda) – Silvia (Bangui)

AÑO 2001:

René (Malak) – Andrea (Tabum) – Fernanda (Yantay) – Diego (Panda) – Mariela (Erna)

AÑO 2002:

René (Malak) – Andrea (Tabum) – Fernanda (Yantay) – Diego (Panda) – Mariela (Erna)

AÑO 2003:

René (Malak) – Diego (Panda) – Mariela (Erna) – Carina (Bangui)

AÑO 2004:

René (Malak) – Mariela (Erna) – Carina (Bangui) – Gladys (Yantay)

AÑO 2005:

René (Malak) – Mariela (Erna) – Carina (Bangui) – Gladys (Yantay) – Cristian (Tic Tac)

AÑO 2006:

René (Malak) – Mariela (Erna ) – Gladys (Yantay) – Cristian (Tic Tac)

AÑO 2007:

Mariela (Erna) – Matias (Malak) – Leo (Tabum) – Marianela (Bangui) – Cristian (Tic Tac) – Valeria (Yantay)

AÑO 2008:

Mariela (Erna) – Matias (Malak) – Leo (Tabum) – Marianela (Bangui) – Valeria (Yantay) – Jessica (Tashik)

AÑO 2009

Matias Antoniow – Mariela Tellechea – Valeria Segovia – Marianela Vera – Alicia Panese

AÑO 2010:

Matias Antoniow – Mariela Tellechea – Xoana Mendoza – Marianela Vera –

AÑO 2011:

Matias Antoniow – Xoana Mendoza – Romina Vilas – Damian Pagani - Viviana Dagnino

AÑO 2012:

Matias Antoniow – Valeria Segovia – Mariela Vera – Ailen Mazzotta – Norma Castro

AÑO 2013:

Matias Antoniow – Valeria Segovia – Mariela Vera – Ailen Mazzotta – Norma Castro

AÑO 2014:

Matias Antoniow – Mariela Vera – Valeria Segovia – Ailen Mazzotta - Eliana Hansen

AÑO 2015:

Matias Antoniow – Mariela Vera – Valeria Segovia – Ailen Mazzotta – Sofia Ortega

AÑO 2016:

Matias Anteniow – Agustina Antoniow – Ailen Mazzotta – Mariela Vera – Mariela Gonzales Amaya

AÑO 2017:

Matias Antoniow – Agustina Antoniow – Ailen Mazzotta – Mariela Gonzales Amaya – Carlos Flor

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arthisour-blog · 7 years

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Delesio Antonio Berni (May 14, 1905 – Oct 13, 1981) was an Argentinian figurative artist. He is associated with the movement known as Nuevo Realismo, a Latin American extension of social realism. His work, including a series of Juanito Laguna collages depicting poverty and the effects of industrialization in Buenos Aires, has been exhibited around the world.

Berni was born in the city of Rosario on May 14, 1905. His mother Margarita Picco was the Argentine daughter of Italians. His father Napoleón, an immigrant tailor from Italy, died in the first World War.

In 1914 Berni became the apprentice of Catalan craftsman N. Bruxadera at the Buxadera and Co. stained glass company. He later studied painting at the Rosario Catalá Center where he was described as a child prodigy. In 1920 seventeen of his oil paintings were exhibited at the Salon Mari. On November 4, 1923 his impressionist landscapes were praised by critics in the daily newspapers La Nación and La Prensa.

The Jockey Club of Rosario awarded Berni a scholarship to study in Europe in 1925. He chose to visit Spain, as Spanish painting was in vogue, particularly the art of Joaquín Sorolla, Ignacio Zuloaga, Camarasa Anglada, and Julio Romero de Torres. But after visiting Madrid, Toledo, Segovia, Granada, Córdoba, and Seville he settled in Paris where fellow Argentine artists Horacio Butler, Aquiles Badi, Alfredo Bigatti, Xul Solar, Héctor Basaldua, and Lino Enea Spilimbergo were working. He attended “City of Lights” workshops given by André Lhote and Othon Friesz at Académie de la Grande Chaumière. Berni painted two landscapes of Arcueil, Paisaje de París (Landscape of Paris), Mantel amarillo (The Yellow Tablecloth), La casa del crimen (The House of Crime), Desnudo (Nude), and Naturaleza muerta con guitarra (Still Life with Guitar).

He went back to Rosario for a few months but returned to Paris in 1927 with a grant from the Province of Santa Fe. Studying the work of Giorgio de Chirico and René Magritte, Berni became interested in surrealism and called it “a new vision of art and the world, the current that represents an entire youth, their mood, and their internal situation after the end of the World War. A dynamic and truly representative movement.” His late 1920s and early 1930s surrealist works include La Torre Eiffel en la Pampa (The Eiffel Tower in Pampa), La siesta y su sueño (The Nap and its Dream), and La muerte acecha en cada esquina (Death Lurks Around Every Corner).

He also began studying revolutionary politics including the Marxist theory of Henri Lefebvre, who introduced him to the Communist poet Louis Aragon in 1928. Berni continued corresponding with Aragon after leaving France, later recalling, “It is a pity that I have lost, among the many things I have lost, the letters that I received from Aragon all the way from France; if I had them today, I think, they would be magnificent documents; because in that correspondence we discussed topics such as the direct relationship between politics and culture, the responsibilities of the artist and the intellectual society, the problems of culture in colonial countries, the issue of freedom.”

Several groups of Asian minorities lived in Paris and Berni helped distribute Asian newspapers and magazines, to which he contributed illustrations.

Nuevo Realismo In 1931 Berni returned to Rosario where he briefly lived on a farm and was then hired as a municipal employee. The Argentina of the 1930s was very different from the Paris of the 1920s. He witnessed labor demonstrations and the miserable effects of unemployment[5] and was shocked by the news of a military coup d’état in Buenos Aires (see Infamous Decade). Surrealism didn’t convey the frustration or hopelessness of the Argentine people. Berni organized Mutualidad de Estudiantes y Artistas and became a member of the local Communist party.

Berni met Mexican artist David Alfaro Siqueiros who had been painting large-scale political murals on public buildings and was visiting Argentina to give lectures and exhibit his work in an effort to “summon artists to participate in the development of a proletarian art.” In 1933 Berni, Siqueiros, Spilimbergo, Juan Carlos Castagnino and Enrique Lázaro created the mural Ejercicio Plástico (Plastic Exercise). But ultimately Berni didn’t think the murals could inspire social change and even implied a connection between Siqueiro’s artwork and the privileged classes of Argentina, saying, “Mural painting is only one of the many forms of popular artistic expression…for his mural painting, Siqueros was obliged to seize on the first board offered to him by the bourgeoisie.”

Instead he began painting realistic images that depicted the struggles and tensions of the Argentine people. His popular Nuevo Realismo paintings include Desocupados (The Unemployed) and Manifestación (Manifestation). Both were based on photographs Berni had gathered to document, as graphically as possible, the “abysmal conditions of his subjects.” As one critic noted, “the quality of his work resides in the precise balance that he attained between narrative painting with strong social content and aesthetic originality.”

Since the late 1960s various Argentine musicians have written and recorded Juanito Laguna songs. Mercedes Sosa recorded the songs Juanito Laguna remonta un barrilete (on her 1967 album Para cantarle a mi gente) and La navidad de Juanito Laguna (on her 1970 album Navidad con Mercedes Sosa). In 2005 a compilation CD commemorating Berni’s 100th birthday included songs by César Isella, Marcelo San Juan, Dúo Salteño, Eduardo Falú, and Las Voces Blancas, as well as two short recordings of Berni speaking in interviews.

Several Argentine government organizations also celebrated Berni’s centennial in 2005, including the Ministerio de Educación, Ciencia y Tecnología de la Nación, and Secretaría de Turismo de la Nación. Berni’s daughter Lily curated an art show entitled Un cuadro para Juanito, 40 años después (A painting for Juanito, 40 years later). Through the organization De Todos Para Todos (By All For All) children across Argentina studied Berni’s art then created their own using his collage techniques.

In July 2008 thieves disguised as police officers stole fifteen Berni paintings that were being transported from a suburb to the Bellas Artes National Museum. Culture Secretary Jose Nun described the paintings as being “of great national value” and described the robbery as “an enormous loss to Argentine culture.”

In a 1936 interview Berni said that the decline of art was indicative of the division between the artist and the public and that social realism stimulated a mirror of the surrounding spiritual, social, political, and economic realities.

In 1941, at the request of the Comisión Nacional de Cultura, Berni traveled to Bolivia, Ecuador, Peru and Colombia to study pre-Columbian art. His painting Mercado indígena (Indian Market) is based on the photos he took during this trip.

Two years later he was awarded an Honorary Grand Prix at the Salón Nacional and co-founded a mural workshop with fellow artists Spilimbergo, Juan Carlos Castagnino, Demetrio Urruchúa, and Manuel Colmeiro. The artists decorated the dome of the Galerías Pacifico.

The 1940s saw various revolutions and coups d’état in Latin America including the ousting of Argentine President Ramón Castillo in 1943. Berni responded with more political paintings including Masacre (Massacre) and El Obrero Muerto (The Dead Worker).

From 1951 to 1953 Berni lived in Santiago del Estero, a province in northwestern Argentina. The province was suffering massive ecological damage including the exploitation of quebracho trees. While in Santiago del Estero he painted the series “Motivos santiagueños” and “Chaco,” which were later exhibited in Paris, Berlin, Warsaw, Bucharest and Moscow.

In the 1950s he returned to expressionism with works like Los hacheros (Axemen) and La comida (Food),[3] and began a series of suburban landscapes including Villa Piolín (Villa Tweety), La casa del sastre (House of Taylor), La iglesia (The Church), El tanque blanco (White Tank), La calle (Street), La res (The Answer), Carnicería (Carnage), La luna y su eco (The Moon and its Echo), and Mañana helada en el páramo desierto (Morning Frost on the Moor). He also painted Negro y blanco (Black and White), Utensilios de cocina sobre un muro celeste (Cookware on a Blue Wall), and El caballito (The Pony).

Berni’s post-1950s work can be viewed as “a synthesis of Pop Art and Social realism.” In 1958 he began collecting and collaging discarded material to create a series of works featuring a character named Juanito Laguna. The series became a social narrative on industrialization and poverty and pointed out the extreme disparities existing between the wealthy Argentine aristocracy and the “Juanitos” of the slums.

As he explained in a 1967 Le Monde interview, “One cold, cloudy night, while passing through the miserable city of Juanito, a radical change in my vision of reality and its interpretation occurred…I had just discovered, in the unpaved streets and on the waste ground, scattered discarded materials, which made up the authentic surroundings of Juanito Laguna – old wood, empty bottles, iron, cardboard boxes, metal sheets etc., which were the materials used for constructing shacks in towns such as this, sunk in poverty.”

Latin American art expert Mari Carmen Ramirez has described the Juanito works as an attempt to “seek out and record the typical living truth of underdeveloped countries and to bear witness to the terrible fruits of neocolonialism, with its resulting poverty and economic backwardness and their effect on populations driven by a fierce desire for progress, jobs, and the inclination to fight.”

Notable Juanito works include Retrato de Juanito Laguna (Portrait of Juanito Laguna), El mundo prometido a Juanito (The World Promised to Juanito), and Juanito va a la ciudad (Juanito Goes to the City). Art featuring Juanito (and Ramona Montiel, a similar female character) won Berni the Grand Prix for Printmaking at the Venice Biennale in 1962.

In 1965 a retrospective of Berni’s work was organized at the Instituto Di Tella, including the collage Monsters. Versions of the exhibit were shown in the United States, Argentina, and several Latin American countries. Compositions such as Ramona en la caverna (Ramona in the Cavern), El mundo de Ramona (Ramona’s World), and La masacre de los inocentes (Massacre of the Innocent) were becoming more complex. The latter was exhibited in 1971 at the Paris Museum of Modern Art. By the late 1970s Berni’s Juanito and Ramona oil paintings had evolved into three-dimensional altar pieces.

After a March 1976 coup Berni moved to New York City where he continued painting, engraving, collaging, and exhibiting. New York struck him as luxurious, consumerist, materially wealthy, and spiritually poor. He conveyed these observations in subsequent work with a touch of social irony. His New York paintings display a great protagonism of color and include Aeropuerto (Airport), Los Hippies, Calles de Nueva York (Streets of New York), Almuerzo (Lunch), Chelsea Hotel, and Promesa de castidad (Promise of Chastity). He also produced several decorative panels, scenographic sketches, illustrations, and collaborations for books.

Berni’s work gradually became more spiritual and reflective. In 1980 he completed the paintings Apocalipsis (Apocalypse) and La crucifixion (The Crucifixion) for the Chapel of San Luis Gonzaga in Las Heras, where they were installed the following year.

Antonio Berni died on October 13, 1981 in Buenos Aires where he had been working on a Martin Fierro monument. The monument was inaugurated in San Martin on November 17 of the same year. In an interview shortly before his death he said, “Art is a response to life. To be an artist is to undertake a risky way to live, to adopt one of the greatest forms of liberty, to make no compromise. Painting is a form of love, of transmitting the years in art.”

Antonio Berni was originally published on HiSoUR Art Collection

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