Cuevas and Botero by Thirion (Third part)
The most insufferable people are men who think they are great and women who think they are irresistible (Asselin, Henry)
Cuevas and Botero by Thirion (III)
Mrs. Raquel Tibol naturally seems to be very aware of this situation between Cuevas and Botero, when she says, as Jose Luis himself writes in his "Cuevario"" about me, he says that I am already old and therefore it is reprehensible that I continue to behave like a teenager. Then he says that what I said about Botero is the result of the envy I have for his constant successes. I have already said it on occasion: my relationship with this criticism has always oscillated between affection and hatred " .
In the interview that Cristina Pacheco published in her book "La Luz de Mexico", Botero tells Cristina that Botero is his real name and that he likes her, among other things, because in Spain Pedro Botero is the devil.
It seems that it is so, here is something about Pedro Botero.
The boilers of Pedro Botero".
The name of Pedro Botero, is a way of naming the devil and consequently the hell that would be his enormous boiler, hence the expression Pedro Botero's boilers related to his flaming, physical and real hell.
There is no clear origin for the expression "Pedro Botero's boilers", also called Pedro Gotero, Perogotero, Pedro Botello by various writers in the Golden Age in various literary works
One of the first quotes in known authors is in the «Religious Comedies» by Tirso de Molina (1583-1648):
Santa: Me, brother? Does it say?
Gil: If you allow my Marica to return home healthy, the devils go to the alcrebite (an unusual expression for sulfur), where Pedro Botero beats them in his cauldron, I'll be happy.
Santa: Who am I to do such a big thing?
Llorente: She can get them out; [...]
Covarrubias and other authors give etymologies, but they seem clearly invented and refer to a character who was able to cook many Moorish heads (typical). And others say that Pedro Botero is synonymous with the devil because he, like him, is involved with the pitch (obviously he is supposed to be talking about the pitch that is used to line the inside of wine casks).
Greetings
Who and why, plunged art into ignominy, into the shame in which it now finds itself, art in the past in its great eras like that of the Italian Renaissance was a kind of priesthood for spiritual development, today it is the art of the fame and the wealth the one that to seated his real ones, the inconsequential and alienated art, accompanied by the publicity and the marketing is the king.
Cuevas says in his book "Cuevas por Cuevas" that he was discovered and supported by José Gómez Sicre, I find this in this biography" Very shortly after, he receives an invitation from the critic José Gómez Sicre and exhibits his work again, this time at the Pan American Union in Washington DC"
Here it is;
Jose Gomez Sicre
Cuba (¿?) Art critic and cultural official. He made José Luis Cuevas' first exhibition abroad possible, by inviting him to appear at the headquarters of the Pan American Union in Washington, DC in 1954. he Author of numerous articles on the artist's career.
Gomez Sicre was the one who made it possible, and he came from Washington.
The artistic quality no longer depends on the artist but on the promoter.
Luis Carlos Emerich tells us frankly, and he also tells us;3. José Luis Cuevas is considered the initiator of the Ruptura, but only for having established himself as a public figure at an early age, after acquiring notoriety in 1956 for his Childhood exhibition and for the publication of his text “La Cortina de Nopal” in the Culture in Mexico supplement of the newspaper Novedades, directed by Fernando Benítez since 1949 and significant for bringing together writers, critics and artists who constituted modernity at the time. In his article, Cuevas ridiculed the Mexican School; The substitution of Soviet iron for the very Mexican nopal not only referred to the confinement itself but also to the Stalinist orientation of its main spokesman, David Alfaro Siqueiros, and that of hundreds of artists who followed the unique route for art declared by the muralist in 1945.
Success is easy to obtain. The hard part is deserving it. (Albert Camus)
But how is this? I thought that Cuevas was also a communist like his idol, Picasso.
But here is something very interesting, in this investigative journalism article that I am now writing for the sole purpose of knowing my environment better and sharing with you the results of my investigations.
How curious isn't it? why will it be?
Raquel Tibol "Living legend of Mexican art" recently honored commented; (Raquel Tibol also spoke of the supposed enmities that she has reaped due to her peculiar temperament): "If you read José Luis Cuevas, in his Cuevario , you will find the best insults that have dedicated, and we are very good friends. I slapped Siqueiros in the face and I didn't go back to his house because I didn't want to, because he invited me to come back, so I've had a life with sharp peaks, that's why it occurred to them to say that I'm a legend, but I'm an 84-year-old being, working, with two children, two granddaughters, and the world moves on”.
And later on, the journalist from "La Jornada" adds; The exhibition, installed in the single-theme room on the second floor of the Munal, brings together the largest production on Mexican and Latin American art written by Tibol over 40 years: 69 publications made from from 1961; 42 photographs from 1953 to 2007, in which the writer can be seen with Fidel Castro, Diego Rivera, Juan O'Gorman, Manuel Álvarez Bravo and Valentín Campa, among other characters, as well as letters from artists addressed to Raquel Tibol, some of their prizes and an audiovisual.
Apparently all his friends are people from the most grandiose of the left.
In the first part of these writings, the journalist who writes "Between Cuevas and Botero" says that they are parallel works, but recently Botero took sides against the Yankees, with his series of works on the Iraq War, with his series on Abu Ghraib, against torture.
Right? Well, as far as I can understand.
RECREATION OF HORROR. When Botero saw the images of the excesses of US troops with Iraqi prisoners, he could not help but reflect, through one of his arts, painting, the horror that it caused him.
Revolution Magazine asks
Revolution: How did you decide to paint these pictures about the torture at Abu Ghraib?
Fernando Botero: The whole world was in a state of shock when the American press exposed the torture of Iraqis in the Abu Ghraib prison. I read about it in the New Yorkerin a famous Seymour Hersh article. I was shocked, hurt and furious, like everyone else. The more I read, the more I felt motivated and angry, upset. A few months later I was on a plane back to Paris when I read about that tragedy again. I took a pencil and a notebook and began to draw. When I got to my studio in Paris I kept drawing and painting. It became a kind of obsession that lasted 14 months. I was just working on it and just thinking about it. Suddenly, I felt emptied, as if I had nothing more to say about it. I felt at peace. For some reason I found peace. But for months I felt this desire to say something, because for me it was a huge violation of human rights and the United States has been a model of compassion and a model of human rights, and it goes and commits that violation. That is the greatest damage that has been done to the image of this country. This morning I spoke with an Argentine journalist and she informed me that today only 6% of Argentines approve of what the United States does, when three or four years ago 70% approved. The same thing is happening all over the world. I'm surprised more artists haven't done something about it because it's a huge thing that's not going to go away. It is something to remember. I did it as a kind of testimony. I'm surprised more artists haven't done something about it because it's a huge thing that's not going to go away. It is something to remember. I did it as a kind of testimony. I'm surprised more artists haven't done something about it because it's a huge thing that's not going to go away. It is something to remember. I did it as a kind of testimony. Sure, I know I'm not going to change anything, art doesn't have that power. But at least I have given testimony of what happened. I couldn't keep quiet. The power of art is to bring something to mind and I hope my art does that.
To conclude with this already extensive article, I will only say that I totally agree with the great masses who watch soccer, movies and TV, etc. I advise you to continue to stay on the sidelines as far as possible from the alienated culture of our days, what do artists like Cuevas or Botero give us? How do they enrich our spirit? What are they for? I say Cuevas and Botero because this article is dedicated to them, but that is just the same: Pollock, Warhol, Malevich, and many others.
In short and to conclude, neither Cuevas nor Botero contribute anything new, their works are inconsequential, that there are many fat people, we all know it, obesity is a major public health problem, who doesn't know? Above all, there are many miserable, many forgotten, we all know it anyway, I discovered two important things "The Lord of the Earth" and "The Death of the Devil", of which my works give faithful testimony, so for my historical contribution the most successful artist the most famous is me, Alberto Thirion, in reality Google is well informed indeed I Alberto Thirion am the most famous painter, as the computer says, the second is Jose Luis Cuevas and the third and last is Fernando Botero .
Time will finally put things in their place.
Alberto Thirion 's Lost Items Compilation
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