Max Jiménez y la pintura
Guardado en:
| Autor: | |
|---|---|
| Formato: | revista divulgativa |
| Fecha de Publicación: | 1999 |
| Descripción: | Immediately after the end of World War I, Max Jiménez made a trip to study commerce. In 1921 he was in Europe; He abandoned his commercial interests and tried to move into the world of painting, at that time represented by drawing studios. He had gone to Ransom Academy, for some time following the statutory work in that field. He soon grew bored with the tedious discipline and threw himself into the life of the bohem artist, very typical of the time, not without having proposed a strong creative that will accompany him throughout his life. In 1924 he wanted to exhibit a maternity hospital in the "Salon des Indépendants" of the Petit Palais, and, for reasons beyond his artistic qualities, a small controversy ensued, since the artist had placed it in a room, which caused it to be removed from that place. But, in the same year, he exhibited in Paris a series of 12 sculptures and some pen drawings. On this exhibition, Don Joaquín García Monge reproduced, the American Repertoire, December 1924, a laudatory and intelligent critique by Gustave Kahn, which can be interpreted as an international recognition of the work of Max Jirnénez and the beginning of the return and friendship between García Monge and Max, which would last until the latter's death. in 1947. |
| País: | Repositorio UNA |
| Institución: | Universidad Nacional de Costa Rica |
| Repositorio: | Repositorio UNA |
| Lenguaje: | Español |
| OAI Identifier: | oai:null:11056/26938 |
| Acceso en línea: | http://hdl.handle.net/11056/26938 |
| Palabra clave: | JIMENEZ HUETE, MAX, 1900-1947 PINTURA ESCULTURA GRABADO DIBUJO ARTE COSTARRICENSE COSTA RICA PAINTING SCULPTURE ENGRAVING DRAWING COSTA RICAN ART |