"... she was born to the obvious need to read the flight, and the hidden track, taking it to light. And all of it carved by the light of the Andes, has added to the gift of loyalty to place Indian race ... " Gabriela Mistral.
"... Oh
hard and soft hand and claw jasmine, delicate india
hand tame or fierce creature who knows if sculpture
salute your big and tall like you Altiplano "Rafael Alberti
Gabriela Mistral called" Bolivian great "Rafael Alberti wrote a poem in 1959:" ... Dream wood: / guayacán is tame and excited, / and is tenderness village, / spirit of cloud messenger / or heavenly nude Madonna, / blood veins Bolivian sweet ... "
Considered one of the great sculptors has been Latin America. His works are characterized by a delicate curves and volumes and an incredible ability to use granite, alabaster, basalt and onyx black, and different woods.
"His creations are dominated by human emotions, the presence of mountains and maternity as a woman not lived and moved in each of its parts, such dedication and love that is making them, their children" says curator Cecilia Baya.
Marina Nunez del Prado was born in La Paz in 1910. Studied at the National School of Fine Arts between 1927 and 1929. Then, has served as professor of the departments of sculpture and artistic anatomy at the same university (1930-1938).
Throughout his life performed about 163 shows in different countries. Bolivia was the first artist invited to participate of the Venice Biennale (1952-1959). His creative work is rewarded and shown worldwide. In his travels
met leading personalities. Including Gabriela Mistral, who strikes up a friendship free. Whose
writes in the autobiography called "Eternity of the Andes", "I have the idea that blind people go through life as a castaway clinging to hope, hope of light. I am obsessed with the thought, the river trip and moreover, the journey of the underground rivers, which all ue the complaint is a remote rumor. All waters on a course are single parent going to the deep sea. The blind and the rivers I think it will always with outstretched hands, groping in the life of its destinations.
Sometimes, both blind as the rivers meet and walk some distance together, then separated, because the light and the sea must enter alone.
All these thoughts a little strange, come to mind when I recall my knowledge and friendship with Gabriela Mistral.
Since my teens I learned the hard and bitter beautiful language of the great poet. (...) Gabriela arouses in me a passionate admiration and maternal sweet poems have flooded me in a silent cry of tenderness. She and Santa Teresa, are my favorites.
Gabriela strong ties bind me and invisible: the cosmic tremor, a psychological force I seem to come from the mountains, an insatiable craving for motherhood and the constant flow from the side of tenderness and love.
(...) As is known by everyone. Gabriela was chosen to receive the Nobel Prize for Literature and was back in Sweden after receiving the universal homage, and was a few days in New York. Take notice of this event, all women of the metropolis organziaciones banded together to offer their admiration and affection. There were many speeches, and then listen to all the slow, calm voice of Gabriela, a woman who, not wanting her, she was impressive as a solid and serene mountain.
At the end of every speech, someone had the initiative to ask for his autograph, and suddenly, hundreds of people were in a long and noisy queue. When my turn came, I saw the hands of Gabriela tired of both sign and approaching as I could, I said, "I want to just shake his hand." She lifted her head and smiling asked me who I was, and before I could articulate my response, the President of the American Women's Union (UMA), Dona Evangelina Vogn, said: "It is Marina Núñez del Prado, the sculptor." Gabriela looked at me intensely and said: "Had it not been a teacher and poet wanted to be a sculptor, I collect figures of his Madonnas that appear in magazines, I do not remember his name, but Bolivia is. The President of the AMU was quick to explain, saying: "Marina is from Bolivia and is called the statues of Madonnas".
Gabriela stood up and hugged me and expressed their desire know my studio and see about my Madonnas.
Without further explanation he said goodbye to all the ladies and left his autograph expert arm toward the study. Once he stroked one by one the Madonnas, felt so comfortable that Charles and Charles, remained until the next day, luckily the study was part of the department in which he lived, so I could give my wonderful friend a bed for rest.
I had the happiness of attending Gabriela on many occasions. In 1952, when I went to Europe to exhibit at the Venice Biennale, invited me to spend some time at his home in Naples, Gabriela was Consul for life in Chile and lived closely attended by my dear friend, the American poet Doris Dana, young, beautiful, cheerful, intelligent and comprehensive. With both shared unforgettable moments. "
Navy has in his memoirs that small playing with his brother William to" catch-fishing, "the woman claimed to be a tree of a circus that traveled around the world.
By Gabriela Mistral .- The case of Marina Nunez del Prado is still that of an immediate success in every country that has the grace receive when she landed with his family or tribe of figures, groups or wider compositions that state a creator worthy of big time.
The sudden and definite conviction that his work gives us, perhaps stems from this fact: it sculpts the faces of its people, she has no denying or avoiding dalliance in the face of their race, instead of this she says (...) loudly caste
think all this watching, by grace, working with Marina Nunez del Prado. (...) This is the case of absolute vocation, born creator, adding that the most rigorous craft consciousness. Without fanfare, in the hot silence called inspiration, casting glances toward model, which in turn is the right hand witch, Marina commission fulfills its natural and supernatural turn a face, a torso or entire body. As in myth, she was born to the obvious need to read the flight, and the hidden track, taking it to light. And all of it carved by the light of the Andes, has added to the gift of place loyalty to the indigenous race. (...)
Mariana frequents the highlands, he became her eyes and her eyes and she generously returned as received. There is his magical offspring of men, women and children, and the most beautiful animal that has seen the light the flame with pre-Raphaelite portrait neck and eyes of Madonna.
(...) In their conversation, another of his gifts, she faces tragedy just as happy without dazed as ever, with an invariable and pious serenity (...) His serenity seems to come from many occurred and multitude of creatures and things seen and deployed by the pupil shrewd and even magic, the artist, among other things, is the elusive secret calador witch we call face.
still runs through the world-or some of its corners, the prejudices of the sculptor in front of a woman flagging art such as sculpture, demand forces. It is likely that the public thinks of their presentations before the so-called "indigenous groups" or "Mother Earth" that rolled in a sort of Valkyrie wielding an arm and a stunning hand ... And there is no such magnificent frieze that all that came out of a tiny little woman, carved by a plateau of very fine air and light.
(...) Like to hear it speak for constant maturity and wisdom of his judgments (...) is that the virtues of his great art are the same as your everyday back to learn that the office is amelliza with the work to which they are loyal to themselves.
(...) so happy I made following the "saga" of Bolivia for five hours which I gave to mine these crumbs of the feast that had stolen my eyes.
is an artistic ability great that it gives, for generosity, a spiritual cause, lending their prestige, but without falling into a pitiful whining and vacuous.
Marina Núñez del Prado has put all its remarkable work in the company of exposing the misery of the Indian secular (...) courageously loyal to the Bolivian reality, she presents us with both hands in his art, that is first and wider package of scope. (...)
Marina is already the case of a teacher (...) For the Bolivian great grace was quick, as his work launched and is wide, and we can say it without falling into swollen that she "deserves the Motherland" as the popular expression. But the Homeland yours is full of Bolivia, it includes all his American Indian and mestizo. The party is, therefore, for us all. Text
belongs to the book "Eternity in the Andes", Memorias de Marina Nunez del Prado, Ed Lor Cochrane SA, Chile, 1973.
"... Oh
hard and soft hand and claw jasmine, delicate india
hand tame or fierce creature who knows if sculpture
salute your big and tall like you Altiplano "Rafael Alberti
Gabriela Mistral called" Bolivian great "Rafael Alberti wrote a poem in 1959:" ... Dream wood: / guayacán is tame and excited, / and is tenderness village, / spirit of cloud messenger / or heavenly nude Madonna, / blood veins Bolivian sweet ... "
Considered one of the great sculptors has been Latin America. His works are characterized by a delicate curves and volumes and an incredible ability to use granite, alabaster, basalt and onyx black, and different woods.
"His creations are dominated by human emotions, the presence of mountains and maternity as a woman not lived and moved in each of its parts, such dedication and love that is making them, their children" says curator Cecilia Baya.
Marina Nunez del Prado was born in La Paz in 1910. Studied at the National School of Fine Arts between 1927 and 1929. Then, has served as professor of the departments of sculpture and artistic anatomy at the same university (1930-1938).
Throughout his life performed about 163 shows in different countries. Bolivia was the first artist invited to participate of the Venice Biennale (1952-1959). His creative work is rewarded and shown worldwide. In his travels
met leading personalities. Including Gabriela Mistral, who strikes up a friendship free. Whose
writes in the autobiography called "Eternity of the Andes", "I have the idea that blind people go through life as a castaway clinging to hope, hope of light. I am obsessed with the thought, the river trip and moreover, the journey of the underground rivers, which all ue the complaint is a remote rumor. All waters on a course are single parent going to the deep sea. The blind and the rivers I think it will always with outstretched hands, groping in the life of its destinations.
Sometimes, both blind as the rivers meet and walk some distance together, then separated, because the light and the sea must enter alone.
All these thoughts a little strange, come to mind when I recall my knowledge and friendship with Gabriela Mistral.
Since my teens I learned the hard and bitter beautiful language of the great poet. (...) Gabriela arouses in me a passionate admiration and maternal sweet poems have flooded me in a silent cry of tenderness. She and Santa Teresa, are my favorites.
Gabriela strong ties bind me and invisible: the cosmic tremor, a psychological force I seem to come from the mountains, an insatiable craving for motherhood and the constant flow from the side of tenderness and love.
(...) As is known by everyone. Gabriela was chosen to receive the Nobel Prize for Literature and was back in Sweden after receiving the universal homage, and was a few days in New York. Take notice of this event, all women of the metropolis organziaciones banded together to offer their admiration and affection. There were many speeches, and then listen to all the slow, calm voice of Gabriela, a woman who, not wanting her, she was impressive as a solid and serene mountain.
At the end of every speech, someone had the initiative to ask for his autograph, and suddenly, hundreds of people were in a long and noisy queue. When my turn came, I saw the hands of Gabriela tired of both sign and approaching as I could, I said, "I want to just shake his hand." She lifted her head and smiling asked me who I was, and before I could articulate my response, the President of the American Women's Union (UMA), Dona Evangelina Vogn, said: "It is Marina Núñez del Prado, the sculptor." Gabriela looked at me intensely and said: "Had it not been a teacher and poet wanted to be a sculptor, I collect figures of his Madonnas that appear in magazines, I do not remember his name, but Bolivia is. The President of the AMU was quick to explain, saying: "Marina is from Bolivia and is called the statues of Madonnas".
Gabriela stood up and hugged me and expressed their desire know my studio and see about my Madonnas.
Without further explanation he said goodbye to all the ladies and left his autograph expert arm toward the study. Once he stroked one by one the Madonnas, felt so comfortable that Charles and Charles, remained until the next day, luckily the study was part of the department in which he lived, so I could give my wonderful friend a bed for rest.
I had the happiness of attending Gabriela on many occasions. In 1952, when I went to Europe to exhibit at the Venice Biennale, invited me to spend some time at his home in Naples, Gabriela was Consul for life in Chile and lived closely attended by my dear friend, the American poet Doris Dana, young, beautiful, cheerful, intelligent and comprehensive. With both shared unforgettable moments. "
Navy has in his memoirs that small playing with his brother William to" catch-fishing, "the woman claimed to be a tree of a circus that traveled around the world.
By Gabriela Mistral .- The case of Marina Nunez del Prado is still that of an immediate success in every country that has the grace receive when she landed with his family or tribe of figures, groups or wider compositions that state a creator worthy of big time.
The sudden and definite conviction that his work gives us, perhaps stems from this fact: it sculpts the faces of its people, she has no denying or avoiding dalliance in the face of their race, instead of this she says (...) loudly caste
think all this watching, by grace, working with Marina Nunez del Prado. (...) This is the case of absolute vocation, born creator, adding that the most rigorous craft consciousness. Without fanfare, in the hot silence called inspiration, casting glances toward model, which in turn is the right hand witch, Marina commission fulfills its natural and supernatural turn a face, a torso or entire body. As in myth, she was born to the obvious need to read the flight, and the hidden track, taking it to light. And all of it carved by the light of the Andes, has added to the gift of place loyalty to the indigenous race. (...)
Mariana frequents the highlands, he became her eyes and her eyes and she generously returned as received. There is his magical offspring of men, women and children, and the most beautiful animal that has seen the light the flame with pre-Raphaelite portrait neck and eyes of Madonna.
(...) In their conversation, another of his gifts, she faces tragedy just as happy without dazed as ever, with an invariable and pious serenity (...) His serenity seems to come from many occurred and multitude of creatures and things seen and deployed by the pupil shrewd and even magic, the artist, among other things, is the elusive secret calador witch we call face.
still runs through the world-or some of its corners, the prejudices of the sculptor in front of a woman flagging art such as sculpture, demand forces. It is likely that the public thinks of their presentations before the so-called "indigenous groups" or "Mother Earth" that rolled in a sort of Valkyrie wielding an arm and a stunning hand ... And there is no such magnificent frieze that all that came out of a tiny little woman, carved by a plateau of very fine air and light.
(...) Like to hear it speak for constant maturity and wisdom of his judgments (...) is that the virtues of his great art are the same as your everyday back to learn that the office is amelliza with the work to which they are loyal to themselves.
(...) so happy I made following the "saga" of Bolivia for five hours which I gave to mine these crumbs of the feast that had stolen my eyes.
is an artistic ability great that it gives, for generosity, a spiritual cause, lending their prestige, but without falling into a pitiful whining and vacuous.
Marina Núñez del Prado has put all its remarkable work in the company of exposing the misery of the Indian secular (...) courageously loyal to the Bolivian reality, she presents us with both hands in his art, that is first and wider package of scope. (...)
Marina is already the case of a teacher (...) For the Bolivian great grace was quick, as his work launched and is wide, and we can say it without falling into swollen that she "deserves the Motherland" as the popular expression. But the Homeland yours is full of Bolivia, it includes all his American Indian and mestizo. The party is, therefore, for us all. Text
belongs to the book "Eternity in the Andes", Memorias de Marina Nunez del Prado, Ed Lor Cochrane SA, Chile, 1973.
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