Stone, sign and colour in Osterman Velázquez

Authors

DOI:

https://doi.org/10.5281/zenodo.13899589

Keywords:

Art, Osterman Velásquez, Coro Taratara, Falconian culture, Venezuelan painting, Petroglyphs, art and Color

Abstract

The pictorial work of Osterman Velásquez (Venezuela, 1953) allows him to develop various aspects, to try out different languages, to elucidate socially and spiritually the environment and the individual where he is born, aiming at a worldview based on Latin American cultural values, but with local inputs from his experiences and his geographical stay. Settled in a somewhat isolated town in the state of Falcón, Venezuela, he has managed to forge a solid work over more than half a century of life. His pieces are part of private and public collections, inside and outside the country. His language in recent years has reached a spiritual and psychic maturity. In this brief section, we delve into his long career and attempt certain interpretations.

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Author Biography

Antony Alvarado, Universidad Nacional Experimental Rafael María Baralt - Venezuela

Graduate in Education, specializing in Language, Literature and Latin. Student of the Master's Degree: Teaching for Higher Education. Poet and Writer, Published Works: Stones on the Cross, Anthology of the Cave, Harakiri by Betrayal and Advice for Submerging in Water. Full-time teacher at the Rafael María Baralt Experimental National University. Venezuela.

References

Aracil, A. y Delfín, R. (1998). El siglo XX. Entre la muerte del arte y el Arte Moderno. Ediciones Istmo, Madrid. S/A.

Contín, G. (2024). Texto de sala a la exposición Abyayala. Museo de Arte de Coro.

Contín, G. (2005). Texto de Sala para la exposición Universidad Simón Bolívar.

Morón, C. (2012). Catálogo de la exposición Petroetnias.

Morón, C. (2010). Catálogo de la exposición Texturoetnias.

Velázquez, O. (2020a). Catálogo exposición Cuerpos de Cacao.

Velázquez, O. (2020b). Catálogo exposición Tropicalias.

Published

2024-07-30

How to Cite

Alvarado, A. (2024). Stone, sign and colour in Osterman Velázquez. Perspectives, 12(24), 172–183. https://doi.org/10.5281/zenodo.13899589