Palacio de Bellas Artes / Palace of Fine Arts

Palacio de Bellas Artes (Palace of Fine Arts) is the premier opera house of Mexico City. The building well known for both its extravagant Beaux Arts exterior in imported Italian Carrara white marble and its murals by Diego Rivera, Rufino Tamayo, David Alfaro Siqueiros and José Clemente Orozco.

The Palacio has two museums: the Museo del Palacio de Bellas Artes and the Museo de la Arquitectura. Metro Bellas Artes is located alongside.

The theatre is used for classical music, opera and dance, notably the "Baile Folklórico". A distinctive feature of the theatre is its stained glass Tifany's curtain depicting a volcano and the valley of Mexico. It is the home of Mexico's National Symphony Orchestra, the Bellas Artes Orchestra, the Bellas Artes Chamber Orchestra, the National Dance Company, and the Bellas Artes Opera.

Maria Callas sang in several productions at the Palacio early in her career, and recordings exist of several of her performances here. Other opera greats who have performed and/or sang there include Plácido Domingo, Pavarotti, Kathleen Battle, Kiri Te Kanawa, and Jessye Norman. Most of the world's great orchestras and dance companies have also performed there, including the New York, Vienna, Israel, Moscow, London and Royal Philharmonics; The National Arts Centre Orchestra (Canada); the Philadelphia, Paris, Dresden Staatskapelle, and the French, Spanish and Chinese National Orchestras; the Montreal and Dallas Symphonies; the American Ballet Theatre, the English National Ballet, the Australian National Ballet, the Bolshoi and Kirov Ballets; among others. [Wiki]
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Palacio de Bellas Artes / Fine Arts Palace

Palacio de Bellas Artes (Spanish for Palace of Fine Arts) is the premier opera house of Mexico City. The building well known for both its Beaux Arts exterior in imported Italian Carrara white marble and its murals by Diego Rivera, Rufino Tamayo, David Alfaro Siqueiros, and José Clemente Orozco.
The Palacio has two museums: the Museo del Palacio de Bellas Artes and the Museo de la Arquitectura.
The theatre is used for classical music, opera and dance, notably the "Baile Folklórico". A distinctive feature of the theatre is its stained glass Tifany's curtain depicting a volcano and the valley of Mexico. It is the home of Mexico's National Symphony Orchestra, the Bellas Artes Orchestra, the Bellas Artes Chamber Orchestra, the National Dance Company, and the Bellas Artes Opera.
Rivera's "Man at the Crossroads" mural was originally painted for the Rockefeller Center in New York City. Rivera had finished ⅔ of the mural when the Rockefellers objected to an image of Vladimir Lenin in the mural. When Rivera refused to remove Lenin, his commission was cancelled and the mural was destroyed. Rivera repainted it a smaller scale at the Palacio in 1934 and renamed it "Man, Controller of the Universe"

The object of a New Year is not that we should have a new year. It is that we should have a new soul.
G. K. Chesterton

Bonne Annee
Prosit Neujahr
Felice Anno Nuovo
Feliz Ano Novo
Szczesliwego Nowego Roku
Happy New Year
Feliz Año Nuevo

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New York City and Washington series continue in Sketches of Cities.
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The Beauty of Botero II

Exhibition of Paintings and Sculptures at Palace of Fine Arts. Mexico City

Style

While his work includes still-lifes and landscapes, Botero has concentrated on situational portraiture. His paintings and sculptures are united by their proportionally exaggerated, or "fat" figures, as he once referred to them.

Botero explains his use of these "large people", as they are often called by critics, in the following way:

"An artist is attracted to certain kinds of form without knowing why. You adopt a position intuitively; only later do you attempt to rationalize or even justify it."

Botero is an abstract artist in the most fundamental sense, choosing colors, shapes, and proportions based on intuitive aesthetic thinking. Though he spends only one month a year in Colombia, he considers himself the "most Colombian artist living" due to his insulation from the international trends of the art world.

In 2004 Botero exhibited a series of 27 drawings and 23 paintings dealing with the violence in Colombia from the drug cartels. He donated the works to the National Museum of Colombia, where they were first exhibited.

In 2005 Botero gained considerable attention for his Abu Ghraib series, which was exhibited first in Europe. He based the works on reports of United States forces' abuses of prisoners at Abu Ghraib prison during the Iraq War. Beginning with an idea he had on a plane journey, Botero produced more than 85 paintings and 100 drawings in exploring this concept and "painting out the poison." The series was exhibited at two United States locations in 2007, including Washington, DC. Botero said he would not sell any of the works, but would donate them to museums.

In 2006, after having focused exclusively on the Abu Ghraib series for over 14 months, Botero returned to the themes of his early life such as the family and maternity. In his "Une Famille" Botero represented the Colombian family, a subject often painted in the seventies and eighties. In his "Maternity", Botero repeated a composition he already painted in 2003, being able to evoke a sensuous velvety texture that lends it a special appeal and testifies for a personal involvement of the artist. Interestingly, the Child in the 2006 drawing has a wound in his right chest as if the Author wanted to identify him with Jesus Christ, thus giving it a religious meaning that was absent in the 2003 artwork.

In 2008 he exhibited the works of his The Circus collection, featuring 20 works in oil and watercolor. In a 2010 interview, Botero said that he was ready for other subjects: "After all this, I always return to the simplest things: still lifes. [Wiki]

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Theme Day: Doorways

Bowery at Spring St in Chinatown. New York City

Abandoned house in the Pink Zone of the city

Palace of Fine Arts / Palacio de Bellas Artes

Click Here To View Thumbnails For All Participants
A warrior-hunter deals intimately with his world, and yet he is inaccessible to that same world. He taps it lightly, stays for as long as he needs to, and then swiftly moves away, leaving hardly a mark.
For an average man, the world is weird because if he's not bored with it, he's at odds with it. For a warrior, the world is weird because it is stupendous, awesome, mysterious, unfathomable. A warrior must assume responsibility for being here, in this marvelous world, in this marvelous time.
A warrior must learn to make every act count, since he is going to be here in this world for only a short while, in fact, too short for witnessing all the marvels of it.
Acts have power. Especially when the warrior acting knows that those acts are his last battle. There is a strange consuming happiness in acting with the full knowledge that whatever he is doing may very well be his last act on earth.
A warrior must focus his attention on the link between himself and his death. Without remorse or sadness or worrying, he must focus his attention on the fact that he does not have time and let his acts flow accordingly. He must let each of his acts be his last battle on earth. Only under those conditions will his acts have their rightful power.
Otherwise they will be for as long as he lives, the acts of a fool.
Carlos Castaneda.
Happy Halloween!
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New York City and Washington series continue in Sketches of Cities.
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The Beauty of Botero

Fernando Botero exhibition at Palace of Fine Arts. Mexico City

More images here. 

Background sculptures by Carlo Nicoli

“Man needs music, literature, and painting - all those oases of perfection that make up art - to compensate for the rudeness and materialism of life.” ~ Fernando Botero

November Theme Day: Landmark

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