By Pérez Celis - Museo Virtual
Fundación Pérez Celis
Artist is one that overcomes all difficulties between the work and himself. The drawbacks are of all type: psychologic, physical, material.
I found in “The mediocre man” a way for the inconformity, to solve the search of my own identity. Pérez Celis
As he repeated in the numerous interviews, somewhere between 11 and 12 years old, Pérez Celis, discovers Jose Ingenieros’ book “The Mediocre Man” and decides to become a painter. Arrives at home makes a fire with the antique cartoons he had been designing, buys some paint tubes, a canvas and paints his first work “Landscape 1957”.
“Not everybody as you, get ecstatic in front of a twilight, do not dream in front of a dawn or vibrate with a storm...Only a few are avid pursuers of some fantastic idea, a chimera, worship philosophers, artists and thinkers, that turned into ultimate synthesis their visions of being and eternity, dreaming beyond reality. Beings as you, whose imagination is full of ideals and whose sentiments polarize their whole personality, belong to a special human race: the idealists. José Ingenieros.
From this starting point he never abandoned his vocation, the discipline and the sacrifice to reach his ideal. Josefa, his mother supported him, despite the fact that the family did not approve it. He always felt around him the accompaniment of the artists of Liniers neighborhood of those times.
“The ideal is a manifestation of the spirit towards some perfection….. a point and a moment between infinite options existing in time and space. The ideals, for being visions anticipating the future, influence the behavior and are a natural tool for human progress. The ideals are in a perpetual transformation, as the forms of the reality they anticipate”. José Ingenieros
Pérez Celis and his wife Sara in Montevideo (1959)Pérez Celis - Museo Virtual
Pérez Celis and his wife Sara in Montevideo
Archive picture (1959)Pérez Celis - Museo Virtual
The show in The H Gallery was the first to sell all exhibited works, giving the possibility to live out of his artistic work. He sold the show in full in three opportunities, one when he was establishing in USA.
Catalogue Show in H GalleryPérez Celis - Museo Virtual
Archive Picture Pérez Celis in front of Fuerza América Mural (1962)Pérez Celis - Museo Virtual
Demolished by developers around year 2000. Buenos Aires.
Mural National Bank of Argentina, Formosa (1962) by Pérez CelisPérez Celis - Museo Virtual
Archive Picture Pérez Celis paiting in the sixties (1962)Pérez Celis - Museo Virtual
Archive Picture Pérez Celis paiting in the sixties
Archive Picture Carlos María Caron, Romero Brest, and Pérez Celis (1963)Pérez Celis - Museo Virtual
Pérez Celis sustained after 1963 a confrontation with the powerful art critic Romero Brest who had declared "the painting has died" refuted by Pérez Celis with a poster " the painting has not died I am alive".
Argentinean artist grasps the Inca Culture, Cuzco, Indian Greece
Quinta Heeren Lima Peru, residencia de la Familia Perez Celis durante la estadia en Lima
Retablo de Anatonia (1964) by Pérez CelisPérez Celis - Museo Virtual
Anatonia is an imaginary city, beyond poetry and art. As a matter of fact it has been created some ten years ago by the poet CM Caron, a place I feel myself identified with. I believe that in a certain way it accompanies me throughout my entire work. Perez Celis in interview at the opening of the tapestry show in the Gallery El Sol.
El Sol de Anatonia (1965) by Pérez CelisPérez Celis - Museo Virtual
Collection MoMA, New York
Sol Negro. Serigraph 4/7 on paper. Buenos Aires, 1966
Fundación Pérez Celis
Designers Iván Villani and Luz Arias
María Carolina Baulo
