Cavallo Piccolo, ed. AP2/2
46 x 43 x 21.49 cm.
Historically the horse has been a central theme in the history of art as it has captured the attention of man for longer than recorded history itself. In fact, the beginning of these depictions pre-date the written language of Man. It is well know that early artists, in prehistoric times, began creating forms which evolved around images of horses.
In Fernando Botero’s case, the theme of the horse has been a constant in his career spanning over 65 years. One of the biggest influences of his volumetric style is Paolo Uccello, the Italian Renaissance painter, a pioneer of visual perspective in art.
There are many references to the Horse in the work of Master Botero. In fact, Master Botero’s father, a travelling salesman, died when Botero was only 4 years old. Pedro, the artist's son who died as a young child, is often depicted in his work while riding a toy horse.
As a figurative painter, Botero favours the anatomy of the horse to implement his aesthetic of undulating muscle in exaggerated forms and evidently thinks this animal as integral to his own personal universe.
Botero began drawing and painting horses at the earliest stages of his career, but eventually his drawings and paintings evolved from the flat surface of canvas to a three-dimensional sculpture in the early 1980's.
Slowly, his passion for the subject matter soon needed to be challenged in a monumental size. The world became fascinated with his work, and soon the monumental sculpture of the horse became a landmark in many cities around the world.
“The subject is always the same, but the way you express it is always different. I have always said that the horse, the man, the tree, they were all always, since prehistoric times, the same, and yet, there have been thousands of ways to express them. The horse of the School of Altamira, the horse of Velázquez, of Caravaggio, of Giotto, of Picasso ... they are all the same horse, but it is the way they express it that is different...”