Untitled

Richard Hunt

1980

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Large, rectangular painting made in collage format composed of different sized pieces of paper, fabric, repurposed corrugated and plain cardboard, tape and dye in various shades of blue, red, white, black and the natural color of cardboard, placed together in a somewhat random way that resembles a patchwork quilt. The artwork is attached to a canvas stretcher frame.
Polychrome (green, yellow, gray, and pink) in abstract form applied to center of paper
The object is an oversized bronze sculpture of a reclining, longhaired female nude with an up-turned face. The figure rests on a fabric which drapes over a twelve-inch high base. The surface has a warm brown patina. The whole sculpture currently rests on base that raises it 21 inches off the ground. In this sculpture, Botero reinterpreted the odalisque, merging characteristics of primitive fertility goddesses with the voluptuous women of Rubens, Renoir, or Titian. Botero concentrates the heft in his figures at their center to attain the highest degree of volumetric expression and linear precision. His figures have been dubbed "Boteromorphs." Botero's art reflect the culture of his native Medellín, where pre-Columbian aesthetic traditions intermingle with the lingering influence of medieval Spanish Catholicism. Botero has also absorbed the influences of Diego Rivera, Henri Matisse, and others.
A half-length portrait showing a smiling man in yellow with 3/4 view toward viewers. This work is rendered in beads.