La princesa margarita10/29/2023 ![]() ![]() These genres we find as linked to the Venus:Ī - Feminine stamps and portraits: heroines of a domestic world that prices and guards them. And in a symbolic sense, it is an Archetypal Venus, odalisque of modernity. It is an invention of counterparts in perfect cohabitation. Surpassing the Renaissance, the Baroque and the Venetian School, or the beginnings of Picasso or Matisse, the painter constructs, in the best-achieved eclecticism, the figure of a woman that is at the same time real and sketched, but also cloudy and mellow descriptive and emblematic but at the same time imaginative and chimerical. The axis is the feminine figure: a whole woman attesting to her autonomous strength. Sensuous bodies with contundent corporeity and grayish burnished palettes. Womanly figures, gelatinous and mellow brushes with corpulent volumes of unpredictable contortions. Among those, the "Self-portrait with an Angel": outside stands the painter palette and brush in his hand and very majestic, looking at us attentively in the heights, a feminine angel "flies" in the back, a parrot, a house and a half shown easel, conform a discontinued metarealistic rhetoric.Ī fifth level, "Assemblings", through a different technical mean, he achieves a new sign-object semeiology.įEMININE FIGURATIONS: ABOUT VENUS AND EROTICSĬEPEDA transforms the feminine anatomy into erotic entities. A magical-realistical tale that emphasizes the associative correspondence of the elements.Ī third level, the series "Marians of Austria" mother of the Infant Margarita, conceptualized by Cepeda.Ī fourth level, the "Self-portraits of the Painter". The outstanding piece "Portrait of Two Children with curtain as a Backdrop" a great ironic-dramatic theatricality Two children smile over a donkey toy as background, a landscape painting with strong warms framing them and a side view of an ambiguous personage to the left. Outstand "Self-portrait with Model" numbers 1, 2 and 5 with a strong erotic expressiveness.Ī second level, the series "From the Family Album", themes of the individual recollection. The series "EROTICS", in small format, he explores the concept of the body and its desires. As an example the piece, "…In the mountain of Sorte". ![]() The series "THE PAINTER AND HIS MODEL", emphasizes not only the sensuous splendor of the Venus but also the self-portrait of the artist included in the canvas. Born in Zulia of such a unique geography, the painter stamps in the canvas personal mythologies and collective memories, where fiction and reality interplay.ĭifferent production levels can be seen in the show: a first level, the VENUSES, where the erotic feminine figuration predominates feminine stamps and portraits and women in the nude. Since the fifties, this tendency inscribed a fundamental rupture with the worn out landscaping. To learn more about how and for what purposes Amazon uses personal information (such as Amazon Store order history), please visit our Privacy Notice.Specially emphasizing the human condition, CEPEDA creates a new pictorial proposal within the "New Venezuelan Figurative". You can change your choices at any time by visiting Cookie Preferences, as described in the Cookie Notice. Click ‘Customise Cookies’ to decline these cookies, make more detailed choices, or learn more. ![]() Third parties use cookies for their purposes of displaying and measuring personalised ads, generating audience insights, and developing and improving products. This includes using first- and third-party cookies, which store or access standard device information such as a unique identifier. If you agree, we’ll also use cookies to complement your shopping experience across the Amazon stores as described in our Cookie Notice. We also use these cookies to understand how customers use our services (for example, by measuring site visits) so we can make improvements. We use cookies and similar tools that are necessary to enable you to make purchases, to enhance your shopping experiences and to provide our services, as detailed in our Cookie Notice.
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