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Eduardo Vernazza (13 October 1910 – 26 May 1991) was a Uruguayan artist. Vernazza was born in Montevideo, Uruguay. He was the second child of a family of seven whose parents immigrated from Genoa, Italy. After finishing elementary school, Eduardo worked as a road sweeper, a dish washer and a clerk in order to help his family through difficult times. When he was eighteen, the newspaper ''El Día'' offered him a position as a crime scene and court artist for that newspaper's police page. During this time he also took courses with his uncle, the artist Marcelino Buscasso. He frequented the Circle of Fine Arts of Montevideo where he was able to expand his limited artist views with some of South America's famous artisans. Soon, the newspaper transferred him to the entertainment section of the newspaper. This began an association which started in 1930 and continued until ''El Día'' closed its doors in 1980. During this fifty year span Eduardo reflected, through his sketches and paintings, the scope and grandeur which was the nature of the performing arts in Uruguay, including what is often referred to as the Golden Age of the arts in that country, the decades spanning the 1930s to the 1950s. At the beginning of the 1940s, he was introduced to Daisy Massioti, a ballerina who presented her own choreographies at Theater Solís. The sketch is entitled ''Winged Ballerina''. It appeared in ''El Día''. They were married on the 11th of November, 1944. Eduardo dedicates all his exhibitions to her. He also incorporates her likeness into many of his ballet paintings. He sketched at the theater at night and painted in his studio until dawn. During these years, he consolidated his career as a drawer, a painter, and an art critique. In 1949, the couple visits Europe. Together with other Latino American artists, Vernazza exhibits his work at the Museum of Beaux Arts of the City of Paris (Petit Palais). ==Vision== However, he does not visit the capital only as an artist, UNESCO chose him to be a representative of the Art Critics of Uruguay. Vernazza was not an intellectual. He did not come from any Academy. He did not see art as a theoretician but as a technician. He knew the tools, the materials, the colours, and the natural progress of how art is created. His father, Juan Bautista Vernazza, was a carver of wood. Some of Montevideo's most beautiful building facades were sculpted by him during the 1920s. Vernazza attributed a great esthetical value to his father’s work, usually considered as a craft or a minor art. He also admired those who designed the wardrobe for entertainers, like the Russian painter Léon Bakst, or those who illustrated fairy tales like the Barcelonian Freixas and the Russian Iván Bilibin. He studied the drawings that appear in fashion magazines and sometimes he designed Daisy's dresses. Rooted in tradition, Eduardo always lived with the original meaning of techné: the ability to make something well. By the 1960s his vision had evolved, influenced by other conceptions of art: ready – made, conceptual art, installation, and postmodernist art. However, in 1999, eight years after Eduardo's death, a tendency called stuckism or remodernism appeared in Great Britain and quickly spread throughout the art world. In their Manifesto, the remodernists affirmed that artists who do not paint are not artists. Success does not consist in winning prizes but in getting up at dawn and painting. The words of these Stuckers reflect sixty years of Eduardo’s life. Postmodernism is a theoretical approach to art. In postmodernist art a linguistic support is often necessary. Without it is impossible for the public to understand the different layers of meaning that the artist expresses. Vernazza is far away from this position. The titles of his paintings are Clown, Dancer, Actress. Thus, they confirm the images the public sees. or they have no title. In the decade of the fifties, Vernazza refuses a position as a professor of Theory of Art at the School of Humanities and Sciences at the University of the Republic. He found it against his nature to translate drawings, paintings, and sculpture into verbal language. He never spoke about his own work. His art displays itself in silence. If he delivered concepts concerning what he does, he would destroy the mystery of this silence. The world is complex, full of noises. Is it possible to listen to the silence of a clown, a dancer or a mime? Yes, because these characters emit the cries and the music of silence. Gesture, facial expression, body language create music in the public's soul. These words describe Vernazza’s art perfectly. However, they do not belong to him. The mime Marcel Marceau spoke this praise. Vernazza made a series of drawings of Marceau during a series of the mime's South American tours. The mime also pointed to the relationship between his work and Spanish dance. Arms up, bodies that transform the dancers into trees or beasts, and the only sound is music and stamping hard on one's feet. No words to explain what happens among the dancers. Vernazza also draws and paints some of the most important figures of Spanish dance: Carmen Amaya, Antonio Gadez, and Cristina Hoyos. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「Eduardo Vernazza」の詳細全文を読む スポンサード リンク
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