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Description

CLAUDIO BRAVO CAMUS (Valparaiso 1936 - Taroudant, Morocco 2011). Untitled, 1950. Charcoal and white pencil on paper. Framed with museum glass. Signed and dated in the lower right corner. Measurements: 70 x 125 cm; 95 x 152 cm (frame). The sensuality of this evocative work completely dominates the composition. A nude woman in a complex foreshortening is shown before the viewer completely oblivious to him. Her delicate and feminine anatomy is defined by a truthful volume, although not without a lack of transcendent idealization towards a classical beauty. The marked volumes, through the use of shadows and light, provide three-dimensionality to this body that seems to float in a light space, where the ideal is the woman's body as a concept, not a concrete woman, since we do not see her face, but the symbol of the feminine. The precision of the drawing and the technical quality of the work create a great game between reality and the imaginative that keeps the viewer expectant before the visual paradox posed by the author, a recurring feature in the work of Claudio Bravo. Born into a wealthy family of Chilean landowners, from an early age he had a clear artistic vocation and did not want to be part of the family business despite his father's insistence on his first son. He studied in a religious school and although with age he rejected all the Catholic dogmas learned in his childhood, he always had a certain interest in the mysterious aspects of religious life and a fascination for the lives of the saints. His style is influenced by classical and Renaissance perfection, as can be seen in the work we present here. He had his first exhibition at the Salon 13 in Santiago de Chile in 1954 at the age of 18. He discovers Dalí's surrealism, whose influence will be palpable in some of his future works, but always with a personal imprint. He obtains certain fame in Latin America and Europe as a portrait painter, a genre that he will never abandon since, in spite of the fact that he began to find it boring, it provided him with economic stability and an important social status. In 1961 he finally left Chile and arrived in Spain, settling in the capital of Madrid where he continued to cultivate fame and fortune until the beginning of the 70's when, finally, he headed for Tangiers, captivated, as he explained, by an incomparable light and climate. In 1981 he held his first exhibition at the Marlborough Gallery in New York, a gallery that has represented him internationally ever since, and in 1994 he held a major solo exhibition at the National Museum of Fine Arts, which became one of the most attended in history. For his merits and artistic contributions, he was granted Spanish nationality by the Spanish Council of Ministers on July 1, 2002.

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CLAUDIO BRAVO CAMUS (Valparaiso 1936 - Taroudant, Morocco 2011). Untitled, 1950. Charcoal and white pencil on paper. Framed with museum glass. Signed and dated in the lower right corner. Measurements: 70 x 125 cm; 95 x 152 cm (frame). The sensuality of this evocative work completely dominates the composition. A nude woman in a complex foreshortening is shown before the viewer completely oblivious to him. Her delicate and feminine anatomy is defined by a truthful volume, although not without a lack of transcendent idealization towards a classical beauty. The marked volumes, through the use of shadows and light, provide three-dimensionality to this body that seems to float in a light space, where the ideal is the woman's body as a concept, not a concrete woman, since we do not see her face, but the symbol of the feminine. The precision of the drawing and the technical quality of the work create a great game between reality and the imaginative that keeps the viewer expectant before the visual paradox posed by the author, a recurring feature in the work of Claudio Bravo. Born into a wealthy family of Chilean landowners, from an early age he had a clear artistic vocation and did not want to be part of the family business despite his father's insistence on his first son. He studied in a religious school and although with age he rejected all the Catholic dogmas learned in his childhood, he always had a certain interest in the mysterious aspects of religious life and a fascination for the lives of the saints. His style is influenced by classical and Renaissance perfection, as can be seen in the work we present here. He had his first exhibition at the Salon 13 in Santiago de Chile in 1954 at the age of 18. He discovers Dalí's surrealism, whose influence will be palpable in some of his future works, but always with a personal imprint. He obtains certain fame in Latin America and Europe as a portrait painter, a genre that he will never abandon since, in spite of the fact that he began to find it boring, it provided him with economic stability and an important social status. In 1961 he finally left Chile and arrived in Spain, settling in the capital of Madrid where he continued to cultivate fame and fortune until the beginning of the 70's when, finally, he headed for Tangiers, captivated, as he explained, by an incomparable light and climate. In 1981 he held his first exhibition at the Marlborough Gallery in New York, a gallery that has represented him internationally ever since, and in 1994 he held a major solo exhibition at the National Museum of Fine Arts, which became one of the most attended in history. For his merits and artistic contributions, he was granted Spanish nationality by the Spanish Council of Ministers on July 1, 2002.

Estimate 45 000 - 50 000 EUR
Starting price 30 000 EUR

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