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Luis Enrique Tábara (born 1930, Guayaquil, Ecuador) is a master Ecuadorian painter and teacher representing a whole Hispanic pictorial and artistic culture. Tábara took interest in painting at the age of three and was drawing regularly by the age of six. In these early years, Tabara was strongly encouraged by both his sister and his mother. Enrique Tábara nevertheless is a creator who investigates and demystifies the image in which he takes refuge. Tábara's vitality is a constant that reveals the versatile spirit of a teacher and a master of experimentation. Tábara was greatly influenced by the Constructivist Movement, founded around 1913 by Russian artist Vladimir Tatlin, which made its way into Europe and Latin America by way of Uruguayan painter Joaquín Torres García and Parisian/Ecuadorian painter Manuel Rendón. Torres Garcia and Rendón both made an enormous impact on Latin American artists such as Tábara, Aníbal Villacís, Theo Constanté, Oswaldo Viteri, Estuardo Maldonado, Luis Molinari, Félix Arauz and Carlos Catasse, to name a few. == The Barcelona Years == In 1946, Tábara attended the School of Fine Arts in Guayaquil and was mentored by German artist Hans Michaelson and Guayaquilean artist, Luis Martinez Serrano. In 1951, Tábara finished mastering the fundamentals and left art school. Tábara's early works typically depicted grotesque characters, marginalized peoples of Guayaquil, prostitutes, and some portraits. By 1953, Tábara began to paint more abstract images. Tábara held his first US exhibit in 1954 at the Organization of American States (OAS) in Washington, D.C. In 1955, the Ecuadorian government offered Tábara a scholarship to study at the Escuela Official de Bellas Artes de Barcelona. Tábara's work was welcomed with great success in Spain and Tábara befriended surrealist André Breton and Joan Miró. By 1959, Tábara's work had gained a great deal of international attention. André Breton asked Tábara to represent Spain in the ''Homage to Surrealism Exhibition'', among the works of Salvador Dalí, Joan Miró, and Eugenio Granell. Miró enthusiastically praised Tábara's work and presented Tábara with an original piece of his artwork which Tábara has long treasured. While living in Barcelona, Tábara began working with Antoni Tàpies, Antonio Saura, Manolo Millares, Modest Cuixart and many other Spanish Infomalist artists. Tàpies and Cuixart were members of the first Post-War Movement in Spain known as Dau-al-Set, founded by Catalan poet Joan Brossa. Tábara wrote several articles for their publication of the same name, ''Dau-al-Set''. Dau-al-Set was connected with Surrealism and Dadaism and its members sought a connection to both the conscious and unconscious in their work. Dau-al-Set opposed both the Formalist Movement and the formal art centers. The group was inspired by the early works of Max Ernst, Paul Klee, and Joan Miró. In 1963, Tábara represented Ecuador together with Humberto Moré and Theo Constanté at the Museum of Modern Art in Paris for the Third Biennial of Paris. By 1964, Tábara's work was being shown throughout Latin America, as well as Lausanne, Milan, Grenchen, Vienna, Lisbon, Munich, Barcelona, Madrid, Washington, New York and Paris. 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「Enrique Tábara」の詳細全文を読む スポンサード リンク
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