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Essay / Research Paper Abstract
This 5 page report discusses the life and work of Nicaraguan-born painter Armando Morales (1927 - ). His paintings have a duplicitous nature to them to the point that one wonders if they are paintings of statues or if they are subjects portrayed as still and stationary as sculpture. Three of his paintings -- Nature morte: Pommes, poires, olives (1984), Oracle sur Managua: Hommage a Ernesto Cardenal (1989), and Trois Baigneuses en se Deshabillant (1994) -- are considered. Bibliography lists 5 sources.
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5 pages (~225 words per page)
File: D0_BWmrales.rtf
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from the mainstream perception of what it means to be a Nicaraguan artist in the 21st century. His paintings have a duplicitous nature to them to the point that one
wonders if they are paintings of statues or if they are subjects portrayed as still and stationary as sculpture. Such a sense of density and solidarity is evident in his
still lifes (i.e. "Nature Morte: Pommes, Poires, Olives" - 1984), his structuralist modern works (i.e. "Metamorfosis" -- 1957), as well as his figure painting (such as "Mujer Entrando en UnEspejo
II" -- 1989 and "Oracle sur Managua: Homage a Ernesto Cardenal" -- 1989). Brief Biography Armando Morales was born in Granada, Nicaragua in 1927. After studying at the Escuela Nacional
de Bellas Artes, Managua, he began to exhibit internationally in the 1950s. He worked in his native country as well as Peru and Brazil until the 1960s when he traveled
to New York City after being named a Guggenheim fellow. There he studied at the Pratt Graphics Center in New York (1960-1964). At that time, was gaining a representation as
one of the best modern Latin American artists. His earliest recognized works were generally realistic landscapes, still lifes, and scenes of everyday life. According to a biography at LatinArt.com (2001),
he then moved on to combine "figurative elements with broad abstract forms. His colors were primarily somber tones, black, white, and gray with some red and blue; he painted with
a thick impasto and sometimes added collage elements to the canvas" (Internet source). His work in the next two decades evolved into something that was far more figurative. His still
lifes of fruit were opulent and thick as if in celebration of their unique textures and colors. Those colors then reflect the flavor one would see if flavor could be
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