43×36 Ender Cepeda 1993 Frida Kahlo Oil Painting


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43×36″ original 1993 Oil Painting by Ender Cepeda of “Frida Kahlo” from Venezuela. Modernism with complete exaggerated body expressions: amplified or magnified body expressions. I’m still baffled, on how cheep these paintings are.

Biography from the Archives of askART

Ender Cepeda

Especially emphasizing the human condition, CEPEDA creates a new pictorial proposal within the “New Venezuelan Figurative”. Since the fifties, this tendency inscribed a fundamental rupture with the worn-out landscaping. Born in Zulia of such unique geography, the painter stamps in the canvas personal mythologies and collective memories, where fiction and reality interplay.

Different 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. 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. As an example the piece, …In the mountain of Sorte. The series “EROTICS”, in a small format, explores the concept of the body and its desires. Outstand Self-portrait with Model numbers 1, 2 and 5 with a strong erotic expressiveness.

A second level, the series From the Family Album, themes of the individual recollection. The outstanding piece Portrait of Two Children with a 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. A magical-realistic tale that emphasizes the associative correspondence of the elements.

A third level, the series Marians of Austria mother of the Infanta Margarita, conceptualized by Cepeda.

A fourth level, the Self-portraits of the Painter. 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 discontinued materialistic rhetoric.

A fifth level, Assemblings, through a different technical means, he achieves a new sign-object semeiology.

CEPEDA transforms the feminine anatomy into erotic entities. Womanly figures, gelatinous and mellow brushes with corpulent volumes of unpredictable contortions. Sensuous bodies with continent corporeity and grayish burnished palettes.

The axis is the feminine figure: a whole woman attesting to her autonomous strength. 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. It is an invention of counterparts in perfect cohabitation. And in a symbolic sense, it is an Archetypal Venus, odalisque of modernity.



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