- ホーム
- キャンバスプリント用
- patrociño barela
- Activity
Preview
手描き複製画を注文する
シェアする
シェアする
詳細を見る
ダウンロード
似ている作品
X線調査
スライドショーActivity
詳細を見る
作品のオリジナル比率に合わせた、当店の規定サイズからお選びください。
特定のフレームやスペースに合わせて、ご自身でサイズを指定することも可能です。選択されたサイズが元の画像の比率と一致しない場合、作品をトリミングするか、鏡面反射または単色での塗りつぶしによって画像を拡張いたします。制作を開始する前に、ご確認用のデジタルモックアップをお送りいたします。
画面上のプレビューには、実際のトリミングや拡張は反映されませんのでご注意ください。最終的な構図を正確に確認できるのは、モックアップのみとなります。
カスタムサイズも承っておりますが、元の比率を維持するためには、あらかじめ用意されたリストからサイズを選択することをお勧めいたします。
ガラスオプションは、110cm未満のサイズでのみご利用いただけます。
Activity
ジークレー／アートプリント
複製画のサイズ
-
合計金額
-
アーティストの略歴
Patrociño Barela: The First Hispanic Artist Recognized Nationally
Patrocinio Barela (1900–1964) stands as a singular figure in twentieth-century Hispanic New Mexican art, recognized by scholars and artists alike as the inaugural Mexican-American artist to achieve widespread acclaim. Born around 1900—precise birthdates remain elusive—Barela’s formative years unfolded amidst hardship and itinerant labor, shaping his artistic vision profoundly.
His early life was marked by profound loss; both his mother and younger sister succumbed to illness before he reached adolescence. Largely self-educated, Barela pursued formal schooling for mere weeks, demonstrating an innate aversion to structured learning. He embarked on a nomadic existence as a steelworker, miner, railroad laborer, farmhand, and unionized carpenter—experiences that instilled in him a deep understanding of the human condition.
In 1930, he married Maria Sanchez, establishing a family rooted in Taos County, New Mexico. With seven children, Barela’s domestic life mirrored the turbulent currents of his broader world. Legend recounts that a priest encouraged him to repair a damaged wooden santo—a figure of St. Anthony—sparking his lifelong passion for wood carving.
His artistic journey commenced in 1931, propelled by an instinctive affinity for juniper and cedar. Barela’s distinctive style diverged markedly from the traditional santero practice of replicating centuries-old polychrome prototypes; instead, he crafted sculptures imbued with expressive primitivism, surrealism, and a palpable emotional resonance.
The Works Progress Administration (WPA) played an instrumental role in nurturing Barela's talent. Assigned to a horse-drawn cart, he participated in the Public Works of Art Project (PWAP), gaining recognition from critics nationwide—particularly Henry Moore, who likened his sculptures to those originating in Africa and Oceania.
Time magazine hailed Barela as “the discovery of the year,” cementing his place in art history. Two subsequent exhibitions showcased his work at the San Francisco Golden Gate Exposition and the American Art Today show at New York’s World’s Fair, further establishing him as a national sensation. His unwavering dedication to carving—despite facing considerable personal challenges—inspired generations of Hispanic New Mexican artists.
Barela's legacy extends beyond his artistic output; he fostered a family of artists who continue the tradition of crafting sacred objects from juniper and cedar. Today, his sculptures are treasured collector’s items, embodying a singular aesthetic that continues to captivate audiences worldwide.
patrociño barela
1900 - 1964
基本情報
- Artistic Movement Or Style: Expressionist
- Artists Or Movements Influenced By This Artist: ['Santero']
- Artists Who Influenced This Artist: ['Henry Moore']
- Date Of Birth: c. 1900
- Date Of Death: October 24, 1964
- Full Name: Patrociño Barela
- Nationality: Mexican-American
- Notable Artworks:
- David and Goliath
- Saint George
- Place Of Birth: Bisbee, Arizona
