OSWALDO VIGAS ANTHOLOGICAL 1943 – 2013
Museo de Bellas Artes, Santiago de Chile, Chile
January, 2015.
The liberty of the creative act, from an expressionist character, has been a recurrent motivation for the most important artists of the twentieth century. One of them, one who reached an expressive stature among the top Latin American exponents, is the Venezuelan Oswaldo Vigas (1926-2014), whose work has an outstanding trajectory and international recognition.
The show we now exhibit at the National Museum of Fine Arts is the result of a curatorship by Bélgica Rodríguez, for which some of his most significant works were selected, most of them belonging to the collection of the Oswaldo Vigas Foundation. These works come to our country within a traveling context around several Latin American countries.
Overall, the work of Vigas can be defined as the result of a continuous search and experimentation of languages and plastic resources but, above all, as a game of distance and attraction to the figurative. In other words, it is a strong plastic and compositional component resulted in an abstraction that goes between the real and the imaginary. So we can see that his interest was extended from the figurative to the abstract and from informality to geometry in its many variations, as we can observe in the different supports and pictorial techniques, among which there are paintings, murals, pottery, tapestries and sculptures. Vigas never seems satisfied; he goes from the constructive to the automation through painting, in search of new horizons, new ways of creating his personal universe, and recreating his American sentiment. Probably this sentiment is a living feature of his character as a Latin American creator.
Moreover, he invites us to establish a series of relationships with major currents and artistic influences of his time through his works, as a result of his trips around Europe and the friendship he had with some important artists of the time. Picasso, Matta, Lam and the CoBrA Group had a motivation in common with Vigas: the search for the roots (his and their roots) through the archaic world. Consequently, Oswaldo Vigas uses the human figure as an archetype, a sort of ancestral imaginary, where the female figure plays a central role in this ancient and forgotten history about the origin of time, to which the artist becomes the alchemist of myths and dreams.
ROBERTO FARRIOL
Director
Chilean National Museum of Fine Arts
Oswaldo Vigas, Paris, and Chile
Ernesto Muñoz
“You can be a citizen without being an artist, but you cannot be an artist without being a citizen.” This sentence from the last Venezuelan election campaign summarizes Oswaldo Vigas’ work, who never ceased to be an artist but who always had the motto of being a citizen. He emerged as a painter in 1942, with a mark that is classical in his work, and that allowed him to be in the southern hemisphere of America. Back in the post-war time, in the fifties, an exhibition that toured the Southern continent made an impact on him: From Manet to the Present Day, held at the Museum of Fine Arts in 1950 [1], where he met Gaston Diehl (1912-1999), French diplomat and critic, as well as organizer of the exhibition, who accompanies him on his artistic work for decades.
At that time, art had two poles radiating from the field of development of this discipline worldwide: Paris and New York. Vigas chooses Paris, where he carries out a fruitful artistic activity and cultivates great friendships, among them Roberto Matta (1911-2002) and Wifredo Lam (1902-1982), masters of Americanist orientation [2]. His shapes and colors, enriched by the time away from his homeland, make him more vigorous, more a painter of our American roots.
Rue Dauphine
Crossing the Pont Neuf over the Seine river we find the rue Dauphine, where Oswaldo Vigas resides during his life in Paris. It is here where he meets those artists and critics of all nationalities that make up the so-called School of Paris.
The fascination with the City of Light that filled Gertrude Stein and Ernest Hemingway in his unforgettable A Moveable Feast, is the same one that fills lives taken to extremes in search of an aesthetic thinking, that makes Vigas a creator of broad visual impact.
One of the main personalities of the cafe Rotonde Montpartnasse was definitely Pablo Picasso, who Vigas met in 1955. A small man, with a willful forehead and a black hair lock, always surrounded by a court of women, who was like a young Bonaparte of painting, and it was not difficult to read the signs of his predestination to glory on his face. At another time, when he dragged his misery in Montmartre, he rarely crossed the bridges. He used to be seen with Guillaume Apollinaire and André Salmon in the beautiful and famous terrace of La Closerie des Lilas under the trees of the Boulevard du Montparnasse, which for a long time was the center of artistic and literary meetings the Venezuelan master attended.
Roberto Matta, the internationally recognized Chilean painter, lived with him, and together they witnessed how the French art received that generation of South American artists involved in numerous projects, either in group exhibitions such as the Salon des Réalitiés Nouvelles, the Salon Comparaisons or the showings that Vigas organized in the National Museum of Modern Art in Paris, in 1962. His workshops were visited by artists from other regions, who witnessed the birth of works where his libertarian spirit went beyond its limits, arousing the admiration of critics and collectors. These works were bought by museums and galleries that were responsible for spreading this production throughout the world. When remembering Vigas, Matta talked about his good humor, his joy, and the spirit of collaboration that made him a leader of the Venezuelan and Latin American people living in Paris.
Venezuela - Chile: always present
Chile has always borne Venezuela in mind because of all the ties that bind us. Both countries have received political people in exile at various periods in their history. On another level, a Venezuelan woman named Clara Rosa Otero was an important patron of Chilean culture by giving financial support and very generously building the Journalism Building at the University of Chile and the Experimental Theatre.
Two famous Venezuelan scholars also performed a pioneering work in the field of national education. The spreading of the ideas of freedom advocated by Simon Bolivar and Bernardo O'Higgins set the rules of the new Republic. First,Simón Rodríguez (1769-1854), Bolívar, the Liberator’s teacher, who during his stay in Chile presented his concepts of education, and who published his book American Societies in the city of Concepción in 1834. Andrés Bello (1781-1865) follows, who was Honorary Citizen of Chile, founder and first rector of the University of Chile in 1842, where he is remembered today with a monument, author of the Civil Code, and whose Chilean nationality was conferred by grace.
In the field of visual arts, Arturo Michelena (1863-1898), Oswaldo Vigas’ illustrious ancestor, was the portraitist of Virginio Arias, the great Chilean sculptor, whose portrait is part of the collection of the Chilean National Museum of Fine Arts, in Santiago. The two of them met and worked in workshops of the City of Light, in a Paris they carried in the soul.
Among the artists and intellectuals that witnessed the birth of the exchange of breath in the art of the two nations, we can mention the Chilean Marco Bontá (1899-1972), Armando Lira (1903-1959) and María Valencia in Venezuela. In Chile, the Venezuelan Mariano Picón Salas (1901-1965) and Dámaso Ogaz (Chile 1924 - Venezuela 1999), known as a divulgator of visual poetry, and member of the group of intellectuals, poets and artists El Techo de la Ballena.
True to his commitment to art, Vigas, from the thought of Hegel, who placed the science of art before the science of beauty, shows us that artistic beauty is superior to natural beauty, with a painting where man is reflected. At times corresponding to his beginning as an artist, we feel the master looking for a way to explore, with a clear presence of Joaquín Torres García (1874-1949), a key part of our Americanist roots. Later, we see Vigas’ development increased by age, asking about this “Americanist” form with great use of the material that leads him to the realm of expressionism.
At the citizen level, he was called several times to hold positions of real importance in the cultural scene of his homeland, a work he comfortably performed until he was confronted with conflicting situations, alien to his thinking, when he resigned and refocused his energy and value in the plastic work, to which he devoted himself until his death in 2014, at the age of 90.
The presence of this Venezuelan artist in the Southern hemisphere, especially in Chile, is a good opportunity to restore values of painting in the Chilean plastics, where the master Oswaldo Vigas becomes a reference of our art, an all Latin American art.
Oswaldo Vigas
Bélgica Rodríguez
Oswaldo Vigas discovered the thresholds to access the mysteries and secrets of other dawns and thus began his adventure with art at a very young age. Vigas was blessed with a special, innate talent and realized, amidst the shadows of the trees and the words whispered by the breeze that lulled the waves of the Cabriales River in his native Valencia, that he had a hidden vocation. He was born on August 4th 1926 into the open spaces of this important provincial city, which would gradually awaken his spirit and taste for beauty: painting was his destiny. His early inquiries opened his spirit to the creative “phantoms” that propelled him towards out of the ordinary revelations. His first Baroque style compositions Tetragramista II and Composición IV (both from 1943) feature Cubist-influenced fantastical shapes and figures based on his memories, but also are also testimony to his self-taught lessons in art history. He finished his primary and secondary education without losing his interest in art and without his commitment to his illustrations, drawings and collages waning. He did not attend any art school, but graduated in Medicine from the Central University of Venezuela instead, although he did not practice because he decided to dedicate himself to art.
With a clear idea of his goals, he found the way to develop his own style within the figurative painting that was being made in Venezuela during the fifties. His fascination for local pre-Hispanic culture led him to travel throughout the country. He discovered and studied the iconography of these artistic manifestations; the female figure of a flattened Venus with coffee bean eyes made a considerable impact on him and he borrowed features from her that he later presented in the figure that has become his trademark: the witch figure. “After flattening the head, I stretched her neck out, made her ribs visible, and removed her fingers and toes. I revealed the bones in her arms, making branches, shoots and tropical fruits grow all over her body and so that no animal kingdom would feel left out I covered the Witches with rust, crystals and all the over mineral leftovers that fall from heaven (…)” (Exhibition catalogue, 1996, Casa de Las Américas, La Habana, Cuba). Vigas approached the telluric cosmology of these ancient cultures and the mysterious ancestors present in Latin America. As he delved into their beliefs, he discovered the image that represented them, their surroundings and concepts, and used it to create an entire subject matter. Vigas’ witches are a common topic. The artist encountered a path and left serene and turbulent footprints upon it, which have secured him a long and luminous journey.
Entering Oswaldo Vigas’ studio is like going into a world full of memories, references to Venezuelan and Latin American history of art, presences and absences, pre-Hispanic sculptures, and a grand piano. There one finds painting after painting organized chronologically, ready to be exhibited in an exhibition. These paintings, of course, belong to Vigas, who has taken great care to store his own museum of works dating from 1942 until today. Paintings, engraving, tapestries, drawings, pottery and sculpture are testimony to a life completely dedicated to art. He barely rests or stops, but when he does Vigas uses the time to read and re-read the key texts that refresh his memory and knowledge base. He also speaks and shouts in defense of a creative world that belongs exclusively to him: “My work is neither meticulously abstract nor figurative. I have always tried to be meticulously Oswaldo Vigas”. His images are immediately recognizable due to his coherent personal style and personal philosophy toward life and art: “I am lightning and thunder” is the way he describes himself in a debate on art published years ago in a local newspaper. Art’s ability to consecrate and its multiple roles are pillars in his beliefs and he focuses specifically on the autonomy of form and emotions as art’s core. The origin and nature of his work is the beautiful product of his creative life.
A relevant aspect in Vigas’ work is his connection to certain principles of direct perception and the transformation of fluid sensations into objects, whereby the painting acquires an immediate presence, while it also representing a past by association. The witch figures change every decade: in the sixties they were aggressive, violent and also kind. They were closer to the figurative expressionism of the historical avant-gardes in Europe and New York. The artist was immersed in a violent world that was bound to his personal beliefs about figurative art, which posited a transgression that sought to undo the predominance of the figure as the main subject matter. His work’s formal logic thus responded to the union of symbolism and iconography in a global village full of human problems.
Vigas’ painting is well known for its careful formal practice, dominated by thick black lines that provide the outline of his figures, or thick geometric lines that delimit and organize his abstraction. Vigas bases his works on a previously formed idea that naturally changes during the process of painting; he transposes the idea onto the canvas with precision. His drawers are a treasure trove of thousands of sketches, drawings and diagrams that he often revisits to make different types of work: painting, sculpture, tapestry or pottery. The sketch is held by a hand that seems to randomly move over the canvas, paper, clay or other material. However, his actions are not irrational; on the contrary, they obey a careful and rational plan. The final result displays a freedom in the strokes of the thick or thin brushes he uses skillfully and confidently. Vigas defends the freedom of the act of creation and the spirit in order to engross himself in his work in full knowledge of his goals. Among other things, he is interesting in sequences and a meaningful combination of form and content that is ultimately closely linked to the sense of beauty that his works irradiate. His works transmit a particular type of beauty that does not only aspire to being contemplated, but also to materialize a human emotion, which therefore means he considers aesthetics in terms of the context he represents with such mastery.
Several themes could be identified in Vigas’ artistic career, but the female figure of the witch is without a doubt the subject that predominates throughout his different periods. He began with La gran bruja (1951), which earned him the National Fine Art Prize in 1952, which positioned him firmly in the Venezuelan art scene at a time when its incipient modernism was pursuing the universal language of geometric abstraction. He became involved in the creative tumult of the well-established collective, Free Art Workshop in Caracas. By that time, Vigas had simplified his abstract or figurative forms and the structure of his compositions. The female figure was situated on a backdrop of flat colors and her body and expression were given a geometrical form, using strident colors and shaded lines progressively in order to create profoundly symbolic and iconic images that respond to a natural energy that permeates his work and its mysterious atmospheres. The latter is constantly present in Vigas’ various subjects, which at the start of his career were fantastic, abstract, organic and geometric, and which in following decades sometimes included landscape as well.
In the fifties, Vigas turned briefly towards geometry and produced intensely beautiful and powerful art works. He made a series of geometric abstract works entitled Figura descompuesta (1956) that, despite dividing the composition into rigorous geometric planes, are striking because they managed to retain the sensuality and organic aesthetic that characterize his painting. He was invited by Carlos Raúl Villanueva to take part in the project for The Integration of the Arts in Caracas’ University City, where he designed four abstract murals using Venetian mosaic. Vigas rapidly went from one stage to the next. In the sixties he turned to informalism, a style that appeared at the time in Venezuela and was adopted by several important artists by virtue of its iconoclastic and irreverent attitude, its rejection of figurative art and, more specifically, geometric abstract art. Informalism took up much of the sixties. Vigas adopted its codes, which were a novelty at the time, without distancing himself completely from figurative art. Much of the work he made at that time reveals hidden sketches that resemble mysterious ghosts hidden within the exuberance of his sweeping brushstrokes. A further symptom of figurative art resides in the title’s reference to subject matter, which also refer to a familiar everyday world: Géminis or Naciente XVI (both from 1963). Vigas combined informalism and expressionism with visual elements from figurative and abstract styles in the complex works that he carried out until the end of the sixties, most of which were made in Paris. At that time his painting was classified as Americanist, due to its telluric references that evoked pre-Hispanic man, homages and offerings he made to nature and the gods that only he was familiar with: Guardiana (1967). His free brushstrokes increased, as did the planes of color, which, although combined somewhat arbitrarily, created strong vibrations that in aesthetic and compositional terms brought life to the surface of the painting.
In La gran bruja and other similar paintings, Vigas uses the work as a vehicle to set out general questions related to the classic style of art many painters outwardly displayed. He continues to adopt the figurative codes of representation mentioned above, but alters them by fragmenting reality and reducing them to their minimum expression and maximum meaning, perhaps following Arnold Shöenberg’s advice: “Everything in art must automatically determine its own form”. Vigas captured the social, political and cultural whirlwind of the time and adapted to its demands, while he exceeded figurative conventions to establish connections between the real and the imaginary in order to transcend representation. By painting using a specific meta-language, Vigas evoked an enigmatic and mysterious atmosphere that establishes lines of communication between artwork and viewer. The link between form - figure-witch in terms of composition of the pictorial frame using relationships between color-line-form are both significant factors in this context.
The female figure dominates Vigas’ work consistently. He deforms her, makes her Baroque, de-structures and deconstructs her in order to reinvent her using bold lines of color on the canvas. His work developed with incredible speed and changed during each period, but Vigas always maintained his figurative core; he darkened or lightened his palette; substituted the flat surface for a textured one; dense matter and forms coiled up in space in an almost abstract expressionist way reminiscent of the North American expressionist school, outsider art and the Cobra group. Given the density of his paintings, his impulsive and free gestures, and the dark and violent colors and thick black lines of his works from the sixties, Vigas could be considered an unrepentant figurative and informalist painting. These characteristics continue to feature in his entire body of work. Even when the palette becomes lighter and he uses warmer, softer colors he continues to define the forms with the same usually black, thick lines: Duende rojo (1979), Mujer en rosa (1985), Tentaciones de mi adolescencia (1994), Diablesco (1999), Un canto a la vida (2003), Gran curandera IV (2009) and Mantuana III (2010).
It is worth recalling that the artist posits the figurative image as an autonomous construction of reality. His realism is somewhat paradoxical given no figure resembles the ones he creates because they are ultimately products of his imagination, rather than something that actually exists. Neither is it a modernist “comment” on the given subject matter; Vigas is interested in the visual aspects of a work that stridently presents its condition as painting. The ambivalence between the figurative and the abstract demonstrates the instability of figurative representation in an illusory dimension of reality. Both the format of the painting and the human being represented are given a vertical form. Whatever medium he uses, this is not all Vigas is suggesting in his analogies. Adopting a vertical axis and frontal position, he situates the character in the center of the composition so that it dominates the frame; this character, who contrasts to the apparently empty backdrop, displays an inner “body” marked by unfinished brushstrokes and blots of color of different sizes and thicknesses. The works conclude with a sort of chromatic narrative that responds to certain key characteristics in his painting, such as the familiar opposition of form and background, present as of the seventies but which takes on a more emphatic role in the large, stretched formats of the first decade of the twenty-first century: Gran curandera III (2008).
Throughout his artistic career, Oswaldo Vigas has continually created representations of an deformed image, internally off-kilter and made up of fragments that are recomposed using certain invisible “inscription” and formal “signs” that give clues about the figurative discourse. Vigas is an admirer of Wifredo Lam’s technique (La jungla, 1944), Pablo Picasso (Les Demoiselles d’Avignon, 1907, and his Cubist collages), the deformed women of North American artist Willem de Kooning, and the pre-Hispanic Venus. He transforms form into an autonomous entity as he reproduces it entirely by using only the segments that interest him and his own formal limits and decisions so that, during the process, he can transmute the female body into an icon. Viga’s personal style is defined by deformation in figurative images and controlled abstraction as a teratological method of inquiry that defines how the form-figure-backdrop behaves on the pictorial plane and is based on the “sensation” of the image in the Cézannian sense. The formal aspects of his work that expresses the spiritual charge it contains within it are determined by the image which is transformed into an icon and doted with an ambiguous beauty. In an article written by journalist A. Feltra for the newspaper El Universal in 1979, Vigas said: “(…) there are things produced by the imagination and fantasy that span different worlds (…). When they are given artistic expression they act as vehicles for worries and longings that cannot be translated into words (…). We could call them “phantoms” and consider them part of the religious idea of angels and demons”.
It is important to refer to Vigas’ three-dimensional work as well. His sculpture is similar to his painting because he takes the essence from it in order to experiment in various ways. He is interested in the dialectic between different forms of expression, because each of them offers different options to create art that refers to the mysterious world of ancient civilizations and to the contemporary world, with all its problems and worries. The search for immanently expressive elements is key; Vigas thus strips the figure of all decorative possibilities to pare it down. He is interested in textures, the way the gaze enters and leaves the surface of three-dimensional works, as well as the volumes created when the light hits their hollows and solid spaces. In 1985 he presented his first bronze sculptures. Continues to this day his interest in sculpture, good examples would be Guardián (1994) Matadora (1997) y Garota (2007).
This summary of Oswaldo Vigas’ artistic career leads to the conclusion that his initial approaches to painting and drawing in the 1940s combined to produce a fantastical expressionism, a sort of set of oneiric scenarios that are given organic forms, and which dwell constantly on the figure-woman and landscapes. The end of this period was marked by a growing alteration of the female figure, which signaled that it would become the iconic archetype in Vigas’ work. This inquiry, which was vigorously present until the fifties, evolved into geometric stylized forms. At this point the artist placed emphasis on the material quality of the textures and lowered the temperature of the colors he used to increasingly use dark greys, ochers and greens. Towards the middle of the fifties he eliminated secondary elements to highlight the most essential elements of the figurative “presences” in his work. This process led to an oeuvre of black objects, somewhat sombre geometric paintings: Objeto vegetal, Objeto gris and Objeto americano negro, among others.
Vigas began the sixties by developing an interest in the informalist style and worked to emphasize the main features of his early work. He returned to the figurative style, which was enriched by his experience with informalism, and created the series Personagrestes, where the witch-woman theme predominated open compositions that featured lines and planes of color going in all directions. He diverted toward a brief abstract period that reduced the figure to a summarized geometric form, organized in almost monochromatic planes. The vertical, severe figures reappeared at this point and took up their almost obsessively dominant position in the center of the canvas until the eighties. During the nineties, Vigas continued his formal purging by making significant changes to the composition and deconstruction of the figurative image. As of 2000, the relationship between background and form became more pronounced, as well as the use of shades of white in order to add highlights to the composition. His works included all types of figurative images, recognizable of otherwise, that took on different functions in his aesthetic proposals and in the coherence of his subject matter. In conclusion, Vigas’ work centers on the expressive image in terms of ideas posited by universal art and on human beings’ sense of belonging. In short, the work is defined by iconic and psychological complexity that characterizes the figuration –or de-figuring– of contemporary art.
Oswaldo Vigas took on a commitment to art and a life spent in the studio, in different countries and among his family. The artist dies on April 22nd 2014 in Caracas.
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