Cover image for Botero women
Botero women
Botero, Fernando, 1932-
Personal Author:
Publication Information:
New York : Rizzoli ; London : Troika, [2003]

Physical Description:
223 pages : color illustrations ; 33 cm
Subject Term:
Format :


Call Number
Material Type
Home Location
Item Holds
N6679.B6 B68 2003 Adult Non-Fiction Central Closed Stacks-Oversize

On Order



A deluxe compendium of more than one hundred of the finest works by the acclaimed artist explores a world of feminine beauty in portraits featuring his joyfully rotund figures, offering a selection of paintings that includes a number of unpublished works, archival photographs, special vellum inserts

Reviews 2

Library Journal Review

Contemporary Colombian painter Botero is a high-ranking artist with many books published about his work, but this is the first volume dedicated solely to his lifelong fascination with women. In his insightful introduction, Carlos Fuentes writes, "The voluptuous figures that populate his canvases are not merely depictions of plump women, but manifestations of space-organizers of it.... Ironic and rebellious, Botero's women demand respect and often play upon the ideas of a chaste Mary and fallen Eve." Fuentes tells us that it is Latin American women who have persisted while fathers, sons, and lovers have perished. The women Botero depicts are inspired by his native Colombia and by the masters of Western art such as Rubens and Vel zquez and Mexican muralist Diego Rivera. This deluxe volume includes 50 unpublished works and more than 150 paintings, all gorgeously reproduced. Four new works for this project are bound into the book on vellum sheets. Recommended for larger public libraries, academic libraries, and libraries specializing in Latin American studies or art history.-Sylvia Andrews, Indiana State Lib., Indianapolis (c) Copyright 2010. Library Journals LLC, a wholly owned subsidiary of Media Source, Inc. No redistribution permitted.

Choice Review

Colombian-born (1932) painter and sculptor Botero has traveled and studied widely; he was schooled as a matador before discovering the art of Diego Rivera, David Siqueiros, and Jose Orozco. By 1951 he was in Bogota with his first one-man show, reflecting the influence of Gauguin and Picasso's blue and rose periods. In Barcelona and Madrid, he studied at the Academia de San Fernando and spent much time at the Prado studying works by Goya and Velazquez. In 1953, he went to Paris, then Florence to study Renaissance masters Giotto, Masaccio, and Piero; in 1960, Botero bought a studio in New York City. By 1964 he arrived at his mature style, characterized by inflated and rotund forms of often-nude female figures that frequently alluded to the work of past masters, occasionally bordering on caricature. He moved to Paris and began sculpting; since the mid-1980s, beautiful and often whimsical monumental bronzes of women, men's torsos, and animals by this arguably modern-day Gaston Lachaise have been adorning public spaces worldwide. Little scholarly text appears in this publication, but Mexican novelist Carlos Fuentes offers a fine introduction. Sumptuous color magnificently complements the voluptuous images. List of titles, dates, and page numbers of some 150 works. ^BSumming Up: Recommended. General readers; lower-division undergraduates through faculty. J. Weidman Nelson-Atkins Museum of Art