Apr 24, 2018

La Pampa, México, El Caribe

Pérez Celis - Museo Virtual

A sniper painter by Rodrigo Alonso. “I am a sniper painter. I stayed away of tendencies and schools. My work is sustained by more than 10 years of career painting". Pérez Celis, 1971. Answer to an interview by Roque Escobar in "Pérez Celis From La Boca to Paris". Clarín Review, Buenos Aires, 31/10/1971.

Vida y Muerte diptych, Pérez Celis, 1966, From the collection of: Pérez Celis - Museo Virtual
Towards the end of the 60’s decade, Pérez Celis has already defined the general frame of his poetics and delimited a horizon of images and forms that drives him in the journey of creation. His travels through Latin-America and afterwards thru the Pampa lead him towards an exploration of space and of vernacular symbols that differentiate his artistic search from any other of the artists of his generation. His work corpus has already won the label of Americanism and is widely recognized in our country and in the rest of the world. The successive prizes and participations in Biennales and other international exhibitions trace his career when bordering the age of 30. Nevertheless, attentive to his time, his works reflect the profound changes that burst around him. The arrival of the mass media with their load of vibrant images, the development of pop art, the spreading of technology, the space career and its correlative relation with the science fiction cinema, the hippy movement and its demands of a radical liberty as well as the social conflicts of the Vietnam War, leave a permanent mark in the life and the sensibility of the members of this historic movement, so unique, and in a way permeates the unstoppable production of the Argentinean artist.
Vida y Muerte diptych, Pérez Celis, 1966, From the collection of: Pérez Celis - Museo Virtual
From the Earth reaching for the Sun, 1966, From the collection of: Pérez Celis - Museo Virtual
Drawing, Pérez Celis, 1966, From the collection of: Pérez Celis - Museo Virtual
Facing these circumstances, Pérez Celis adopts a very optimistic attitude. He declares in an interview for Crónica Newspaper on his voyage to U.S.A.: "The very day I arrived I witnessed the march of the hippies towards the Pentagon. I was deeply impressed by the demonstration of that youth, who let their hair grow long, that lives dirty and intentionally abandoned, but also is cannon-fodder for sterile wars. They were preaching for peace in their own way, starting a campaign in favor of love….. There, I realized that my painting has as one of its purposes to communicate with young people. I wish to show the positive aspects of the world, that by the way, improved quite a lot in spite of the trouble" (II). This optimism incarnates in his impassioned chromatism as the 1960 decade finishes and the next one starts. The replacement of the oil by acrylic produces surfaces increasingly even and give to the figures a flat and synthetic status, reminiscent of graphics, with a finishing that hides the gestural marks. Manos al sol (1967) or Alas al tiempo (1967) retain the significant forms of the native cultures of the South America, but they come very close as chromatism and style to the schematics of the pop artists.
Drawing, Pérez Celis, 1966, From the collection of: Pérez Celis - Museo Virtual
Manos al Sol, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual

Manos al Sol

Drawing inspired by La Pampa, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
"Each period in Art History - guarantees the artist – berries the death of the previous one. But this is a death that leads to renovation. In my case, I realized that instinctively I started to be more connected with graphics: with the pigments, the way of facing the painting, that was a bit influenced by the pop art and other things that were showing up". (II)
Drawing inspired by La Pampa, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Alas al tiempo, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
This contact with graphic art it is not forced as Pérez Celis had worked as a graphic designer, and during these years he also produces murals and tapestry. Through them he establishes a link with the popular art and everyday life that makes his approximation to pop not an uncritical adoption of an alien esthetics, but rather, a genuine relationship with his vital milieu.
Alas al tiempo, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual

Alas al tiempo

Serigraph, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
As a matter of facts it should be wrong to consider the works of Pérez Celis from this period as pop. The pop is basically urban, metropolitan, while Celis work draws his sources from the native settlements from La Pampa. The pop identifies the popular with the consumer society whereas Celis finds them in the forms and products of our native communities. The pop is flat and superficial, while Celis paintings aim at the profoundness and the spirit. Anyway if something from this artistic current attracts our artist, probably it is the absolute freedom at the time of creation (as pop does not understand the art as the result of a stylistic evolution), its esthetic innovations (the impassioned chromatism, the immediateness in acrylic painting, the reminiscences of graphics, etc.) and the openness to explore the possibilities of the consciousness (that is perceived in the movement of the psychedelic culture).
Serigraph, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Catalogue Exhibition in Pan American Union (OAS), From the collection of: Pérez Celis - Museo Virtual
José Gómez Sicre, 1967, From the collection of: Pérez Celis - Museo Virtual

Text José Gómez Sicre Director Visual Arts

Art Museum of the Americas. Pan American Union (OEA)
Exhibition. Washington, 1967
De tierra cósmica, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Collection Embassy of Argentina in Washington D.C. United States
De Tierra Cósmica. Acrylic on canvas. Buenos Aires, Argentina, 1967
Serie pampeana, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1967, From the collection of: Pérez Celis - Museo Virtual

Sara, Pérez Celis and Rafael Squirru in Washington

Revista Vosotras, Inés Manilow, 1967, From the collection of: Pérez Celis - Museo Virtual
Without title, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Misa Criolla serie, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Without title, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Cruz tiempo, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
The acrylic paint in the 60s was a new media, represented the new, taking over the traditional paint. Pérez Celis brings it back with him from his first voyage to Washington. In an interview in Mexico, in 1984, after years of using acrylic paint, he answered the question of why he was using it. Pérez Celis explained: “The acrylic paint give us the color of our time, it shows our perception of color, which clearly has changed. We must not forget that through the neon lights, the technicolor movie, and even our clothes, we see that the perception of color is different. I think than, that precisely the acrylic gives us this new vision. Probably, this type of color, used 30 years ago, would have chocked us much more. On top of everything this paint enables a speedier technique to elaborate the work thus coinciding with our time. It is well known that the present art reaches more people, that there is more access, while before the works belonged to a few. Under those circumstances, a painter could maybe paint a work for 15 years , while now does more than 15 a year."
Cruz tiempo, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Cruz al tiempo, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Americas Review - Organization of American States Washington, Fernando Demaría, 1967, From the collection of: Pérez Celis - Museo Virtual
Fernando Demaría, 1967, From the collection of: Pérez Celis - Museo Virtual
Serigraph, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Press clip, 1967, From the collection of: Pérez Celis - Museo Virtual
Cruz América, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Press clip, 1967, From the collection of: Pérez Celis - Museo Virtual
Catalogue Misa Criolla Rubbers Gallery, 1967, From the collection of: Pérez Celis - Museo Virtual
La serpiente y la cruz, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
Pampa Roja, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
Cruz América, Pérez Celis, 1967, From the collection of: Pérez Celis - Museo Virtual
The psychedelics and its search for going beyond ordinary reality find some echoes in the paintings from this period. According to Maria Jose Herrera, the movie 2001 The Space Odyssey (1969) by Stanley Kubrick, has had a singular impact on the artist; in it “Celis saw a vertigo of images,similar to his own, a centrifuge sensation of space, similar to the one that he had developed in the works of that time” (III). The space in paintings as Paisaje extemporal (1968) or Homenaje a Rafael Squirru (1968) keep indeed an astonishing similarity with the famous scene of tunnel in the above mentioned film, inspired in the psychedelic visions of John Whitney’s researches.
Paisaje Ideal, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
Nevertheless Celis finds this cosmic space in a place far closer: the endless extensions of the Pampa’s plains. In his own words: "I am trying to express the huge telluric force that irradiates in this region of our country. La Pampa is the best starting point to enunciate the American. In some way Argentina is already – through the infinite Pampa- within the space that cosmonauts talk about" (IV).
Paisaje Ideal, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
Collection, Museum of Modern Art,Buenos Aires
Paisaje Ideal. Acrylic on canvas. Buenos Aires, 1968
Estilo Review, Fernando de María, 1968, From the collection of: Pérez Celis - Museo Virtual
Carpet design Pérez Celis, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
El Tiempo Bogotá Newspaper, 1968, From the collection of: Pérez Celis - Museo Virtual
Museum of Contemporary Art, Bogotá, Colombia
Serigraph, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
El Tribuno Salta Newspaper, 1968, From the collection of: Pérez Celis - Museo Virtual
Paisaje extemporal, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual

Paisaje extemporal

Collection Hotel Dorá Buenos Aires
Paisaje extemporal. Acrylic on canvas. Buenos Aires, 1968
De La Pampa al Sur, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
This space it is far away from the tradition of landscape; we can almost say that it is located at the antipodes. Because Perez Celis does not try to recreate the resemblances of the elemental fields, but their emotional and symbolic effects. The Venezuelan critic Roberto Guevara describes the works of this period as follows: "His work is a fantastic version of layers, phosphorescent landscapes, odd synthesis of primeval shapes that far from forming in its wholeness an abstract composition, eventually, are paintings that are brimming chromatic incandescence, poetic visions that remind more the instinct than the geometry" (V).
De La Pampa al Sur, Pérez Celis, 1968, From the collection of: Pérez Celis - Museo Virtual
Encyclopedia of Arts in America, Vicente Gesualdo, 1968, From the collection of: Pérez Celis - Museo Virtual
El sol al encuentro de su fuerza, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
Buenos Aires Herald, 1969, From the collection of: Pérez Celis - Museo Virtual
Nadir, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
Collection Provincial Museum of Fine Arts Emilio Pettoruti
Nadir. Acrylic on canvas. Buenos Aires, 1969
América extemporal, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
La serpiente llega a la luz, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
El dios astronauta Cover of the Review 2001, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
Encuentro con la luz, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
Lo más importante de las puertas es el hueco, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
Iluminación sobre la pirámide del tiempo, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis in his house in La Boca district, 1969, From the collection of: Pérez Celis - Museo Virtual
Self portrait no human, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual
Artiempo, Enrique Monzon, 1969, From the collection of: Pérez Celis - Museo Virtual
Mercado Review, 1969, From the collection of: Pérez Celis - Museo Virtual

The first Engravings Museum is born, Reuquecura 3 rd Prize LVII Plastic Arts National Show

Gente Review, 1969, From the collection of: Pérez Celis - Museo Virtual
Foto Mundo Review, Feliciano Jeanmart, 1970, From the collection of: Pérez Celis - Museo Virtual

Perez Celis portrait , first prize "Personality " Show Picture by Feliciano Jeanmart

Paisaje blanco, Pérez Celis, 1969, From the collection of: Pérez Celis - Museo Virtual

The series of white paitings was the result of the impression caused by a strong snowfall in Quemú Quemú La Pampa.The technique used was to saturate all the colors to white

Misión propria Contruccion -Transformación, Pérez Celis, 1970, From the collection of: Pérez Celis - Museo Virtual
Interludio eterno, Pérez Celis, 1970, From the collection of: Pérez Celis - Museo Virtual
El sendero homenaje a Ricardo Güiraldes, 1970, From the collection of: Pérez Celis - Museo Virtual

Tribute to Ricardo Güiraldes

Raices Review, M.S., 1970, From the collection of: Pérez Celis - Museo Virtual
Al encuentro del camino, Pérez Celis, 1970, From the collection of: Pérez Celis - Museo Virtual

Al encuentro del camino
3rd Prize National Fine Arts Show

Homenaje a Rafael Squirru, Pérez Celis, 1970, From the collection of: Pérez Celis - Museo Virtual

Tribute to Rafael Squirru

Exhibition Galería Integra, 1970, From the collection of: Pérez Celis - Museo Virtual
La Nación Newspaper, Rafael Squirru, 1970, From the collection of: Pérez Celis - Museo Virtual
Redescubrimiento pampeano, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
El adiós del indio, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Nuestra razón, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
"My symbology and sign repertoire ripened, developed. It does not circumscribe any longer to the primitive elements of remote civilizations, but conquers the territory of the new one, the less known, of the space. The cosmic" (VI).
Nuestra razón, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Folk ensemble, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis with carpet, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Hand made carpet done by Sara , his wife
Siete Días Review, 1971, From the collection of: Pérez Celis - Museo Virtual
Roque Escobar, From the collection of: Pérez Celis - Museo Virtual
Roque Escobar, From the collection of: Pérez Celis - Museo Virtual
Roque Escobar, From the collection of: Pérez Celis - Museo Virtual
Centro compartido, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Vientos fuertes del Sur, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Paisaje y resurrección, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Encuentro al Sur, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
The titles acquire an evocative characteristic “Paisaje y resureccion /Lanscape and resurrection “(1971) ” Oraculo del Sol/ Sun Oracle “(1973)’ Viaje imaginario /Imaginary voyage “(1974) “Alturas secretas/Secret heights "(1974)warn about the secret connexion between space and its spiritual projections. The Americanist references dilute into configurations of planes, lines and colors that impact straightforward into perception, through powerful and rhythmic structures and vibrant chromatic effects.
Encuentro al Sur, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Hacer la luz, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Paisaje interior, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
Nuestro sueño, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual
An art of american inspiration, Rafael Squirru, 1971, From the collection of: Pérez Celis - Museo Virtual
Mural, Pérez Celis, 1971, From the collection of: Pérez Celis - Museo Virtual

Mural 2417 Jorge Luis Borges Street, Buenos Aires, Argentina

Calle Jorge Luis Borges 2417, Buenos Aires, Argentina

Pérez Celis America confesses, A.V., 1971, From the collection of: Pérez Celis - Museo Virtual
Un mundo para todos, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Collection National Fund for Arts. Buenos Aires, Argentina
Un mundo para todos. Acrylic on canvas. 1972, Buenos Aires
Pérez Celis with Todos juntos la multiplicación, 1972, From the collection of: Pérez Celis - Museo Virtual
Archive file, 1972, From the collection of: Pérez Celis - Museo Virtual
Todos juntos la multiplicación, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Todo estará visible, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Anticipación, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual

Anticipación

Más alto más arriba, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
El ojo de América, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Horizonte extemporal, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Nuestra tarde, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis with Sol Nuestro en Tierra Colorada, 1972, From the collection of: Pérez Celis - Museo Virtual
Collection Foundation Bunge & Born
El Sol Nuestro en Tierra Colorada. Acrylic on canvas. Buenos Aires, 1972
Mercado Review, 1972, From the collection of: Pérez Celis - Museo Virtual

Aquisition Award National Plastic Arts Show

Book Pérez Celis by Rafael Squirru, Rafael Squirru, 1972, From the collection of: Pérez Celis - Museo Virtual
La Nación Newspaper, Rafael Squirru, 1973, From the collection of: Pérez Celis - Museo Virtual
Primera variación de mensajeros de la eternidad, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Escuchar la voz, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Un horizonte para todos, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Collection National Fund for Arts. Buenos Aires, Argentina
Un horizonte para todos (diptych). Acrylic on canvas. 1972, Buenos Aires, Argentina
Pampa nuestra, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Gente Magazine, 1972, From the collection of: Pérez Celis - Museo Virtual
Antena Review, 1972, From the collection of: Pérez Celis - Museo Virtual
Gardel 2000, Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
La Razón Newspaper, Hernández Rousselot, 1972, From the collection of: Pérez Celis - Museo Virtual
Catalogue Exhibition in Wildenstein, From the collection of: Pérez Celis - Museo Virtual
Federico Augusto Martino, 1972, From the collection of: Pérez Celis - Museo Virtual
Theater Poster "The witches of Salem", Pérez Celis, 1972, From the collection of: Pérez Celis - Museo Virtual
Destino Pájaro, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
Pintura, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
Tiempo de Sol, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
Collection Argentinean Foreign Affairs Ministery
Tiempo de Sol. Acrylic on canvas. 1973. Buenos Aires, Argentina
Que tu fuerza nos llegue, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
Recuerdo pampeano, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
Sin título, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis visual sonority, 1973, From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
Todo es posible, todo existe, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
Muerte en la catedral, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual
Arquitectura e Ingeniería Review, Marta Traba, 1973, From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
Oraculo del sol, Pérez Celis, 1973, From the collection of: Pérez Celis - Museo Virtual

Oráculo del sol

El Sol Newspaper, 1974, From the collection of: Pérez Celis - Museo Virtual
El Nacional Newspaper, Roberto Guevarra, 1974, From the collection of: Pérez Celis - Museo Virtual
Pintura, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Pintura, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Viaje Imaginario, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual

Viaje imaginario

Van Gogh en América, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Catalogue Exhibition in Arvil Gallery Mexico, Photography Daphne Dougall de Zileri, 1974, From the collection of: Pérez Celis - Museo Virtual

Photography by Daphne Dougall de Zileri

Self portrait to observe the Jury, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual

Self portrait to observe The Jury, last paiting sent to the National Plastic Arts Show

Archive picture, 1974, From the collection of: Pérez Celis - Museo Virtual
El Universal Newspaper, Rosas Jimenez, 1974, From the collection of: Pérez Celis - Museo Virtual
Public work for Aerolíneas Argentinas, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Public work for Aerolíneas Argentinas, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Archive picture, Ernesto Regales Blow-up Studío, 1974, From the collection of: Pérez Celis - Museo Virtual
Club de Las América Review Cover, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Puertas al tiempo, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Sin título, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
El Nacional Review, Marco Antonio Acosta, 1974, From the collection of: Pérez Celis - Museo Virtual
Without title, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Hermano Americano, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Press Clip, 1974, From the collection of: Pérez Celis - Museo Virtual
Diorama de la Cultura, Juan Acha, 1974, From the collection of: Pérez Celis - Museo Virtual
7 Días Review, 1974, From the collection of: Pérez Celis - Museo Virtual
Gente Review, From the collection of: Pérez Celis - Museo Virtual
Manuel Caldeiro, 1975, From the collection of: Pérez Celis - Museo Virtual
Caretas Review, 1974, From the collection of: Pérez Celis - Museo Virtual
Rosa Alquímica, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Osatura lateral, Pérez Celis, 1974, From the collection of: Pérez Celis - Museo Virtual
Alturas secretas, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
Al amparo de nuestro disco solar, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
Atravesar fronteras de los pájaros, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
Preludio, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
El pájaro de la fertilidad, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual


Nevertheless, mid-seventies, the original elements return in the paintings of Perez Celis, mainly through figures of an allegoric fauna. Ascenso y descenso indamericano ,Homenaje a Leopoldo Marechal (1975) Pájaro de la eternidad (1976) Parahansa-Gran cisne sagrado, are a few that testimony this work series.

El diario de Río Negro Newspaper, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
Ascenso y descenso indoamericano, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual

Ascenso y descenso indoamericano
Tribute to Léopoldo Marechal

El diario de Río Negro Newspaper, Leon Benaros, 1975, From the collection of: Pérez Celis - Museo Virtual
América la elección del despertar, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
América la elección del despertar
The painting that, according to his manifestation, was most time consuming to achieve, having the premonition that his life was about to change. Driving to Rosario they had a car accident, his wife Sara died and he was intubated for several months. Over the turtle's shell he had painted a woman's shattered body.
América la elección del despertar, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
América la elección del despertar, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
"The spiral coming out of the heart represents the Man who turns back to himself, to his own center, who projects his emotions on the innermost core of his being, willing to unlock the jail of his material confinement and reach his inner freedom and his right to fully participate in Universal life". Guillermo Nazar
América la elección del despertar, Pérez Celis, 1975, From the collection of: Pérez Celis - Museo Virtual
Poemas endovenosos, 1975, From the collection of: Pérez Celis - Museo Virtual

Poetry book by Carlos Maria Caron, drawings by Pérez Celis, after Sara' s death.

Por la memoria de otros tiempos, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
Otros horizontes para nuestros pájaros escondidos, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
Aprender a volar, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
Retrato, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual

Portrait of Osvaldo Giesso

Retrato, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
The idea of sacred becomes more and more important but without any referral to specific religious or spiritual doctrine. It rather looks like a search of sacred personified in the plastic matter itself. There is a return to textured surfaces and chiaroscuro suggesting mysterious and secret spaces. “De lo material a lo spiritual (1977) Mitología sagrada (1977) En las cosas sagradas(1978) are some of the works that mark this new course, that coincides with the move to Venezuela, where he sets temporarily his residence.
Paramahansa (Gran cisne sagardo), Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual

Paramahansa Gran cisne sagrado

Pájaro de la eternidad, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual

El pájaro de la eternidad

El silencio de nuestros pájaros atraviesa lo desconocido, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
El silencio de nuestros pájaros atraviesa lo desconocido, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
Otros soles, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
Resplandor de un grito, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
Self portrait, Pérez Celis, 1976, From the collection of: Pérez Celis - Museo Virtual
Clarín Newspaper, Alfredo J. De Los Santos, 1977, From the collection of: Pérez Celis - Museo Virtual
Porcelana Hartford, 1976, From the collection of: Pérez Celis - Museo Virtual
Arte Artesanía Industrial Catalogue, From the collection of: Pérez Celis - Museo Virtual
Arte Artesanía Industrial Catalogue, From the collection of: Pérez Celis - Museo Virtual
El Nacional Newspaper, 1977, From the collection of: Pérez Celis - Museo Virtual
La presencia vertical, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Since he lives in Venezuela – underlines Roberto Montero Castro – his painting experienced various changes. The color pallet got lighter, has brighter primary [colors] and his earthly [colors] are warmer. As regards the structure of the image, Perez Celis is working with overlapping planes, in advancing space. Now there is a prominent diagonal disposition in his geometrical forms, compensated by verticals. The horizontal line is barely present.(VIII)
La presencia vertical, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Buenos Aires Herald, Thelia Conrad de Behar, 1977, From the collection of: Pérez Celis - Museo Virtual
Mutaciones de la conciencia, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
“There are three Americas. The euro (Argentina, Chile, Uruguay) Indo (Mexico, Bolivia, Peru) and Afro (the Caribbean) but there is Venezuela, where all this is represented... Yes: I paint with acrylic, because it is more durable and less changeable. Venezuela, after a trip to Ciudad Bolívar, has made me paint with ochre, grey, I paint with less color than before less hot colors ; it is an evolution that I owe to Venezuela”. Pérez Celis interview in Nuevos Horizontes /Fígaro Caracas 22 July 1978
Mutaciones de la conciencia, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
La sagrada protección, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Fuerzas luminosas, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
As a landscaper that is, Perez assumes the verticality that surrounds him in the same way as before made us participate in the pampean horizons that he traveled. Valid reference, the physical environment would be poor explanation to investigate the integral messages of his current art. It is all Venezuela that is under his skin as it corresponds to the sensitive spirit of excellence that is the spirit of the artist. Diario Horizonte Cultural. Caracas around 1978.
Fuerzas luminosas, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
La fuerza de la contemplación, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
From the collection of: Pérez Celis - Museo Virtual
Viasar Review Venezuela, 1977, From the collection of: Pérez Celis - Museo Virtual
De extraordinarias fuentes, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Sobre los signos, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Presencia de antepasados, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Collection Museum of Contemporary Art Junin,Buenos Aires Province , Argentina.
Presencia de antepasados, mixed media on canvas. 1977, Caracas, Venezuela
La imagen circular, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Cuando nació el cerro, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Venezuelan Review, Martin Bessega, 1977, From the collection of: Pérez Celis - Museo Virtual
De lo material al espíritu, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Mensajes de la memoria, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Los que dejaron las huellas, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Poderes desconocidos, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis with "The sun of Iberoamerica", From the collection of: Pérez Celis - Museo Virtual
Pérez Celis with "The sun of Iberoamerica", Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
The sun of Iberoamerica 30 years later, Pérez Celis, 2006, From the collection of: Pérez Celis - Museo Virtual
Del libro de las mutaciones, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual

Del libro de las mutaciones (From the Book of Changes)
Pérez Celis had a certain fascination with The ( I Ching) Book of Changes. He dedicated a series of drawings in Paris and a series of paintings in New York

Tiempo de piedra, Pérez Celis, 1977, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis with De la ciudad perdida, 1978, From the collection of: Pérez Celis - Museo Virtual
De la ciudad perdida, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
En las cosas sagradas, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Lyra Review, Roberto Montero Castro, 1978, From the collection of: Pérez Celis - Museo Virtual
Los fantasmas de nuestra conciencia, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Elevar los orígenes, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Antiguas leyes del espacio, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Tiempo vegetal, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Al dios desconocido, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Collection Museum of Contemporary Art, Bunos Aires, Argentina
Al dios desconocido Mixed media on canvas, Caracas, Venezuela 1978
Ecos del tiempo, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Horizonte Cultural, 1978, From the collection of: Pérez Celis - Museo Virtual
La puerta de la libertad, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
La puerta de la libertad, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Mensajes de aproximación, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Pérez Celis, Pinturas Catalogue, 1978, From the collection of: Pérez Celis - Museo Virtual
Exhibition in Caracas Fine Arts Museum , Venezuela
Museo de Bellas Artes de Caracas Show, 1978, From the collection of: Pérez Celis - Museo Virtual
"Z" Review, Jaime Tello, 1978, From the collection of: Pérez Celis - Museo Virtual
Últimas Noticias, Figaro, 1978, From the collection of: Pérez Celis - Museo Virtual
Museo de Bellas Artes de Caracas Show, 1978, From the collection of: Pérez Celis - Museo Virtual
El Universal Newspaper, Alfredo Schael, 1978, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1978, From the collection of: Pérez Celis - Museo Virtual
Archive picture, 1978, From the collection of: Pérez Celis - Museo Virtual
Latin American research Review, 1978, From the collection of: Pérez Celis - Museo Virtual
Diario El Universal, From the collection of: Pérez Celis - Museo Virtual
J.M., 1978, From the collection of: Pérez Celis - Museo Virtual
San Juan Star Magazine, Felix Bonilla Norat, 1978, From the collection of: Pérez Celis - Museo Virtual

An artist with visions like Borges; a photographer who captures South America

Catalogue Exhibition at the Museum of the University of Rio Piedras, 1978, From the collection of: Pérez Celis - Museo Virtual
Museum of History, Anthropology and Art, University of Puerto Rico, Río Piedras Campus
Exhibition
Mendoza Newspaper, From the collection of: Pérez Celis - Museo Virtual
El Mundo Newspaper, 1978, From the collection of: Pérez Celis - Museo Virtual
Por este signo vencerás, Pérez Celis, 1978, From the collection of: Pérez Celis - Museo Virtual
Fundación Pérez Celis
Credits: Story

Fundación Pérez Celis
Designers: Iván Villani and Luz Arias

Request files at: fundacionperezcelis@gmail.com

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I. Respuesta al interview de Roque Escobar “Perez Celis: De La Boca a Paris“. Clarin Revista, Buenos Aires, 31/10/1971

II. Citado en María José Herrera, “Pérez Celis: Encontrar en los orígenes”, en Pérez Celis. Viaje al interior de la materia (cat.exp.), Buenos Aires, Biblioteca Nacional, Secretaría de Cultura de la Nación, 1994.

II.Ibídem.

IV. Citado en “Un modo de ver América”, en Panorama, Buenos Aires, 13/5/1969.

V. Roberto Guevara, “Pérez Celis y lo americano”, en El Nacional, Caracas, 29/1/1974.

VI. Citado en “Pérez Celis levanta los ojos”, en Artiempo, Buenos Aires, 1969.

VII. Roberto Montero Castro, “América: La invención del pintor”, en Pérez Celis. Pinturas (cat.exp.), Caracas, Museo de Bellas Artes, 1978.

Credits: All media
The story featured may in some cases have been created by an independent third party and may not represent the views of the institutions whose collections include the featured works or of Google Arts & Culture.
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