What to make of Fernando Botero? I came back from Colombia both more and less appreciative of the painter of porky people.
Clearly, he is the best-known Colombian artist: His works are in the National Museum and he has a museum of his own, Museo Botero. There, 123 of his works are on display along with 85 by European artists like Picasso, Bonnard, Caillebotte, Soutine, Roualt, etc., etc. and a few American ones, too — gilt by association.
The museum, which I believe is owned by the Banco de la Republica, is a handsome hacienda-style building in La Candelaria, the old part of town. Published reports say that Botero donated his and the other works to Bogota in 2004, and insisted that the museum be free, which it is.
The art is well displayed, in two wings on two floors: one wing for Botero’s works, one for the other artists.
I am more appreciative of Botero because this is a great thing to do for his compatriots. I saw no other place in Bogota, or Cartagena, where Colombians can view such a variety of art by non-Latins. Botero cast his net wide in collecting — in addition to those mentioned above, add in Max Beckmann, Max Ernst, Paul Delvaux, Lucian Freud, even Richard Estes and Neil Welliver, and many more. One piece by each, mostly.
I also love that Botero clearly knows his art/art history — his homages are both tender and amusing, imho — and I’ve put a few here: Homage to La Tour; to the Mona Lisa, and his portrait of Cezanne. Are they satiric, too, as some believe? You decide.
But I was also dismayed by Botero’s collecting. Even though he knows better, he seems to have embarked on a name-game trophy hunt. Most of the works are far from the best made by the painters in question. Some are terrible examples. If Colombians leave the Botero museum thinking they have seen Picasso, or Beckmann, or Renoir, or Monet, they will probably wonder what the excitement for those artists is all about.
Here, left, is one of the better ones, by Camille Pissaro, from 1901, of the Louvre. See what I mean?
So I am less appreciative of his gesture than I might be. I am guessing it was a matter of money, not eye, because some of the drawings in the collection are quite good.
Should he have bought fewer, better works? That would have been my choice.
Photo Credits: Courtesy of the Botero Museum (top two); © Judith H. Dobrzynski (bottom two), all rights reserved