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 Luis Jose Estremadoyro  (1955 - )

About: Luis Jose Estremadoyro
 

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Lived/Active: Peru/France      Known for: figure, portrait painting

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Biography from Robin Rile Fine Art:
Please note: Artists not classified as American in our database may have limited biographical data compared to the extensive information about American artists.

Darío Ruiz Gómez. (IV Biennial in Medellin. Daily El Tiempo. Bogota, 05.15.81)

"...It is clear that old assumptions about what is 'Latin American' have been surpassed, and in most cases what counts is the personal search of one who, without denying an historical and cultural specificity, is creating a coherent pictorial response - be it figurative or conceptual - to the situation that one is living.  Such is the case with the Peruvian figurative Estremadoyro, who, endeavoring to recover apparently obsolete techniques - the craft of oil painting in the XVII century, for example - maintains, thanks to the belligerency of this craft, an equilibrium against the chaos, the oppression, the acculturation disguised as false 'vanguard'.

Because to persevere in the task of symbolizing a space, referencing an object, does not lead in this case to a 'regression', as some naively think, but to a reflection about a particular language, to the recovery of a language that remains not as a dead heritage but as a lucid way to counteract the chaos and the violence of a senseless history..."

Daily El Colombiano. (Medellin, 05.18.81)

"Gregorio Cuartas (...) belongs to a style of figuration that in Latin America has excellent representatives such as the Chilean Claudio Bravo, the Argentinean Giuffré and the Peruvians Aquino and Luis José Estremadoyro..."

Teresa del Conde. (Visual Arts Director INBA, Mexico D.F. – Exposition Catalog AGPA 82)

"...It would be tedious to comment on the technical and iconographic characteristics of each work, so I will limit myself to pointing out the ones that to my judgment are the most interesting.  Attention is powerfully drawn to the aggregate that Peru presents.  They are all practitioners of a naturalist figuration, whether in a symbological vein (Luis José Estremadoyro), or conceptually related to critical realism (Cervantes, Pestana), or inscribed in artistic paraphrasing (Braun)..."

Fietta Jarque. ( Daily El Observador. Lima, 08.18.83)

"...The Rejoindure is a work that during the night of the inauguration attracted the attention of all in attendance.  This painting by Luis José Estremadoyro is a demential exacerbation of detail; it is not possible to distinguish a single brush stroke in this faithful reproduction of a still life in the Dutch style.  The composition, the quality of the light and the technique, without mentioning of course the theme, could situate it anywhere in Europe in the last three centuries..."

Daily La República. (Lima, 08.30.85)

“…In spite of the youth Estremadoyro has participated in important events, in nationals as well internationals…”

Miguel Cruchaga Belaúnde. (Letter to Mario Vargas Llosa. 06.25.85)

"... Luis José Estremadoyro is one of the most outstanding exponents of a new generation of figurative painters.  His painting produces such an extreme sense of reality that it incites to perplexity. (...) From the first time that I was invited to visit his studio I was overwhelmed by the fount of passion that Estremadoyro is (...) swayed by that faith I have come and gone to his aerie..."

Luis E. Lama (Caretas magazine. Lima, 08.05.85)

"...Luis José Estremadoyro presents a singular proposition in the form of a painting with truly exceptional connotations... The exhibit entitled 'Don't Tell Anyone' is a show that must be seen..."

María Elena Cornejo. (Caretas magazine. Lima, 12.04.89)

"Luis José Estremadoyro lives in a sort of Victorian castle located right in the heart of San Isidro (...)  He views modern art from a distance, moreover, he is not interested in it.  He believes profoundly in a realist aesthetic and in the living presence of the painting (...)  His pictorial production however is not prolific.  Each painting takes him months of labor, research and reflection.  He is an artist who plays with time, colors, shapes, and with the characters in order to discover in them new modes of perception and communication..."

Alonso Ruiz Rosas. (Special for the Daily El Comercio. Paris, 10.23.97)

PARIS - "The Peruvian painter Luis José Estremadoyro inaugurated in recent days an exhibition of painting that is in a class by itself (...) an imposing figurative canvas of 2 by 3 meters that strives to be an allegory of the crisis in modern art..."

Phillipe Dagen. (Daily Le Monde. Paris, 01.03.97)

“Luis José Estremadoyro has lived several years in France. This Peruvian artist of extremely unusual paintings (...) has on display a remarkable work, only one, but it is out of the ordinary and fiercely up to date.  Its name is The Eve (La Víspera), and it is nothing less than a depiction of our times, saturated with horrors, and of our memory, saturated with references.  There is immense ambition: To restore the great classic historical painting, and to delve deeply into the theme.  To achieve this, Estremadoyro uses simultaneously the realistic pictorial style of effective illusionist techniques, and pseudo-collages that let him insert fragments of illustrious works: Leonardo, Vermeer, Velázquez.  This is how the mental confusion is suggested, the spiritual disorder, and a sort of observant hallucination that captivates you. There are abundant symbols of suffering and oppression, as well as many allusions to contemporary history."

Biography from Robin Rile Fine Art:
Please note: Artists not classified as American in our database may have limited biographical data compared to the extensive information about American artists.

I am a Peruvian painter who for almost thirty years has pursued the same struggle.  About 1975, when I was some twenty years old, I understood that modern art was finished and that it was essential to return to the great tradition of the Painting of the Old Masters.  But it was one thing to think it, and very much something else to do it: Who could teach me?... No one, apparently.  That was the beginning of many years of solitary and misunderstood effort to master the craft. After many failures with oil paint, I decided to concentrate on drawing. 

In the decade of the nineties I went to France, invited as a Professor at the École Nationale des Beaux-Arts in Paris, by recommendation of Professor Henry Cueco.  Obviously I felt very excited by this invitation.  No Peruvian painter had ever had the honour of being a Professor at the school of Ingres and Bouguereau

When I was introduced to the students, they were told that I was a painter who mastered the techniques of painting that they (the French) had forgotten; hence the reason for my presence at the school.  Let me be completely honest, Mr. Ross.  Inside me I was saying: "How sad things are! ... If we were in the time of Ingres I would be coming here to learn, not to teach".  And with all sincerity I tell you that I would have preferred a thousand times to learn from one of those great masters than to be invited as a professor.  But I can also say that at that point I did not know just how bad everything was.  You do know!  You say so clearly in your articles and on many other occasions.  Teaching art has become a fraud and a deception and, certainly, l'École des Beaux-Arts is no exception.  On the contrary. Soon I would come to feel that the School was the saddest place in Paris.

When I wanted to start teaching painting, they immediately talked me out of it: "This is a school for artists," - they advised, "but if you want to teach a scholarly craft, then ... allez-y!"  Conversely, the students that were interested in learning, were also under intense pressure:  "What will they think of us if they see us painting still lives!" they told me. . . At the School of Fine Arts it was simply shameful to learn or to teach painting!

This experience in Paris persuaded me to paint a very large picture of 200 x 300 cm, which I called The Eve on which I worked during four years in a small 4 x 3 meter studio in the Banlieue of Paris.  This painting reflects the anguish I felt as a painter facing the state of affairs of the arts and the society, on the eve of the new century.  I was painting the day before, unaware of what tomorrow would be like, although I was sustained by the hope that during the 21st Century, great changes would be forthcoming.  The insanity of the 20th Century could not last forever ...

Mr. Philippe Dagen, art critic of the daily newspaper Le Monde, and France's most important art critic at that time, was one of the few who provided me support during that period.  Following is a reproduction of the article he published in Le Monde, and its translation into English:

LE MONDE/FRIDAY, JANUARY 3, 1997

"An extraordinary Peruvian painter.

In a very formal exhibit, a not so formal painting.

LUIS JOSÉ ESTREMADOYRO has lived several years in France.  This Peruvian artist of extremely unusual paintings continues, however, not being very well known in our country.  Within the setting of the barely-accustomed-to-scandals International Diplomatic Academy (Académie diplomatique internationale), who organizes an exhibition to celebrate its 70th anniversary, he has on display a remarkable work, only one, but it is out of the ordinary and fiercely up to date.  Its name is The Eve (La Víspera), and it is nothing less than a depiction of our times, saturated with horrors, and of our memory, saturated with references.  There is immense ambition: To restore the great classic historical painting and to delve deeply into the theme. To achieve this, Estremadoyro uses simultaneously the realistic pictorial style of effective illusionist techniques, and pseudo-collages that let him insert fragments of illustrious works: Leonardo, Vermeer, Velázquez.  This is how the mental confusion is suggested, the spiritual disorder, and a sort of observant hallucination that captivates you. There are abundant symbols of suffering and oppression, as well as many allusions to contemporary history."

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