🔥 RARE Important Venezuelan Latin Impressionist Oil Painting PUCHI FONSECA '24

Description: This is a Very RARE and Historically Important Venezuelan Latin American Impressionist Oil Painting on canvas, by the esteemed early 20th century Venezuelan painter, Manuel Angel Puchi Fonseca (1871 - 1941.) This artwork depicts a seaside cityscape scene, of what is likely the Venezuelan capital city of Caracas. Several figures can be seen on a wooden dock in the foreground, while in the distance, calm ocean waters, several boats and a skyline of tall buildings are visible. Signed and dated in the lower left corner: "Puchi F. 1924." Approximately 8 1/2 x 14 inches (including frame.) Actual artwork is approximately 7 1/4 x 12 1/2 inches. Good condition for nearly a century of age, with some light speckles of paint loss to the canvas, and light edge wear to the original period frame (please see photos.) Acquired from an old collection in Los Angeles, California. Priced to sell. This is the only known work by this artist in private hands, and the first to ever be offered for sale. Manuel Puchi Fonseca is a celebrated figure in his home country, with works on permanent display in the Centro de Historia Acervo Patrimonial de Santa Rita, General Rafael Urdaneta Historical Museum in Maracaibo, Casa de Capitulacion, Maracaibo, and there is even a college named after him in the city of Maracaibo, Venezuela. If you like what you see, I encourage you to make an Offer. Please check out my other listings for more wonderful and unique artworks! About the Artist: Puchi Fonseca, Manuel Angel Full nameManuel Angel Puchi FonsecaBirthFebruary 15, 1871, Maracaibo, Edo Zulia - VenezuelaDeathJune 29, 1941, Maracaibo, Edo Zulia - VenezuelaNationalityVenezuelanAreaPainter Painter. He made his first studies at the State School and began art classes in 1882 at the State School of Drawing, under the direction of Luis Bicinetti, where he had Julio Arraga as a disciple and received classes from Manuel S. Soto. His crayon drawings were recognized early, such as the portrait of José Andrade (1882, Government Palace collection, Maracaibo) and that of Dr. Gregorio F. Méndez (1892, Academic Assembly Hall collection, LUZ). In 1888 he participated alongside Arraga in the "First Regional Exhibition of Zulia" (Maracaibo) and began to teach at the María Teresa Rodríguez del Toro State School (1889-1939). Following the triumph of Arraga and Puchi in a contest, the Regional Government decided to grant them on June 25, 1896 a scholarship of 300 bolivars. That year, contrary to what was customary for Caracas artists, who sought guidance in the French academy, Arraga and Puchi embarked for Genoa on July 28; from there they moved to Florence (Italy), where they took classes with Tomino Piero at the Circle of Artists and with Arturo Faldi at the Academy of Drawing in Florence (Italy); Simón González Peña also names Ursi and Ferrini among his teachers (1924, p. 46). His colleagues from the Circle of Artists of Florence (Italy) praised his work Camello and awarded The Blush (1896, collection Official Residence of the Governor, Maracaibo). After a brief trip to Rome and the return to academic activities in Florence (Italy), they decided to return to Maracaibo, where they arrived on September 3, 1897. Puchi becomes professor of drawing at the School of Arts and Crafts and founds the Michelena School. The following year, with Arraga, he returned to attend the "Regional Exhibition". In 1910 his work Miranda mártir (today in the Casa Morales or of the Capitulation) was unveiled in the hall of the Municipality of Maracaibo (El Cojo Ilustrado, August 1, 1910) and the Regional Executive rewards his Bolívar in the ruins of San Jacinto, acquired by the Municipality of the Bolívar District (Maracaibo). In 1911 he participated in the "International Exhibition of Industry and Work" in Turin (Italy) with The Last Kiss.It did not take long to form in Maracaibo two sides of admirers inclined by one of the two painters, who had seen their prestige increase with the trip to Europe, a fact that, however, did not disturb their friendly relationship, but, on the contrary, led them in 1916 to group talents in the creation of the Artistic Circle of Zulia, initially chaired by Arraga. Two years later, both appeared in the "Exhibition of painting, sculpture and decorative art" of the Artistic Circle of Zulia and dedicated themselves to traveling through the Andes, looking in that region for reasons for their works. Puchi held the presidency of the Circle in 1920. In 1917 he won the competition to make the state coat of arms. He exhibited in Caracas on several occasions, landscapes in 1910, miniatures in 1919 and again landscapes in 1921 and 1922. In 1936 he made the historical portraits for the newly created General Rafael Urdaneta Historical Museum (Maracaibo), and in 1939 he made one of his last works, the portrait of Gregorio Fidel Méndez (Casa de la Capitulación collection, Maracaibo). In 1941 he founded in Maracaibo the Julio Arraga School of Plastic Arts, which he directed until the year of his death, in 1946. Puchi addressed the religious theme as in Nuestra Señora del Carmen (1907, collection Church of El Moján, Edo. Zulia), Apparition of the Virgin of Chiquinquirá (1910, collection of the Basilica of Our Lady of Chiquinquirá, Maracaibo) or the remarkable Procession of the Holy Sepulchre (1930), which he gave to his student Gabriel Bracho. That same year he made a Study Head (Erika Wulff collection of Vaamonde, Caracas), which demonstrates his exceptional gifts as a portraitist.Undoubtedly, Arraga and Puchi Fonseca are the most important Zulia painters of the first decades of the twentieth century. The realist tendency, the official commissions of portraits of regional heroes and, under the influence of the first, the landscape theme with a predominance of light tones, governed much of Puchi's work. However, critics say about the latter that "his work differs from that of Arraga; He was more attached to academic principles, from which derived his tendency to prefer the themes of genre painting and the treatment of the human figure. If we make exception of his paintings of historical motifs (portraits of heroes, battles) with which he began, we will find in his production two stages: the first refers to genre paintings made within a classical concept, with an academic sense, as can be seen in his best known work La violetera (collection Zuliano Institute of Culture), and in which the intention to continue in the tradition of the Venezuelan masters of the nineteenth century is appreciated; and finally, a style is observed, the last of his career, in which the technique becomes more free and spontaneous, as befits his purpose of capturing characteristic scenes of Maracaibo, in a landscape search through which the link that this artist established with the so-called School of Caracas is evident, as in his last works" (Erminy and Calzadilla, 1975, p. 84). Solo exhibitions1910 Club Venezuela, Caracas1919 School of Music, Ateneo de Caracas1921 National Academy of Plastic Arts, Caracas1922 Club Venezuela, Caracas1926 Club Venezuela, Caracas1928 Municipal Palace, MaracaiboPosthumous exhibitions1942 School of Plastic and Applied Arts1951 Caracas Athenaeum1969 Li Gallery, Caracas1996 "Retrospective", BCVAwards1882 Gold Medal, "First exhibition of students", School of Drawing of the State, Maracaibo1895 Gold Medal, "Regional Exhibition", Maracaibo1896 Gold Medal, Federal College of Men, Maracaibo / Silver Medal, "Regional Exhibition", Maracaibo / First Prize, Circle of Artists, Florence, Italy1910 Gold Medal, "Regional Exhibition", Maracaibo1911 Diploma of honor and medal of merit, "International Exhibition of Industry and Labor", Turin, Italy / Gold Medal, "Rome Exhibition", Rome1921 Gold Medal, "Regional Exhibition of Artists of the State of Zulia", MaracaiboCollectionsZulia State Legislative Assembly, Maracaibo / House of Capitulation, Maracaibo / Bolívar District Municipal Council, Maracaibo / GAN / Zuliano Institute of Culture, Maracaibo / LUZ / General Rafael Urdaneta Historical Museum, Maracaibo / Official Governor's Residence, Maracaibo / Temple of the Immaculate Conception, MaracaiboSourcesCalzadilla, Juan. J. Arraga. Caracas: Armitano, 1972.Calzadilla, Juan. Venezuelan painting of the nineteenth and twentieth centuries. Caracas: Litografía Tecnocolor, 1975.Erminy, Perán and Juan Calzadilla. The landscape as a theme in Venezuelan painting. Caracas: Shell de Venezuela, 1975.González Peña, Simón. Essay on the history of the arts in Zulia. Maracaibo: Tipografía Excelsior, 1924.Portillo, Julio and Norka Valladares. Manuel Ángel Puchi Fonseca: when art becomes passion. Caracas: sin editorial, 1997.Soto, Evencio A. Silver Jubilee of the Artistic Circle of Zulia 1916-1941. Maracaibo: Sección de Literatura del Círculo Artístico del Zulia-Tipografía La Columna, 1942. 1871, born in Maracaibo, Zulia, the painter Manuel Angel Puchi Fonseca, one of the most important painters of Zulia and Venezuela. From the age of nine he received classes at the School of Drawing of the State of Zulia, where he had as teachers Luis Bincinetti and Manuel Soto.In 1888 he participated, like Julio Árraga, in the First Regional Exhibition of Zulia, where both triumphed and the regional government awarded them a scholarship to study in Italy, receiving classes at the Academy of Fine Arts in Florence. They took the opportunity to visit Rome and Genoa, and then returned to Maracaibo in 1897. Manuel Puchi Fonseca was able to win the appreciation of the community and the recognition of artistic criticism.Immediately after his death, which occurred on June 29, 1941, the former Municipal Council of the Maracaibo District, declared Official Mourning for three days, considering it the glory of Venezuela and Zulian pride.By: Agustín Arteaga JULIO ÁRRAGA AND MANUEL PUCHI IN ITALY On August 16, 1896, arrived in Genoa, Italy, from Maracaibo, Zulia, the outstanding Zulia painters Julio Árraga and Manuel Puchi Fonseca, both scholarships by the president of Zulia Dr. Jesús Muñoz Tébar.At the Academy of Florence, school of great painters of the world, Julio Árraga obtained the distinction of outstanding student.These two Zulia plastic artists revolutionized Art in Zulia in the early twentieth century; Each one separately undertook projects in favor of culture, leaving an indelible mark on the fresh canvases of Zulianidad.JULIO ÁRRAGA'SPROFILE On July 31, 1872, the famous painter Julio Árraga was born on Independencia Street in Maracaibo, considered the master of the plastic artists of Zulia, who since childhood showed his artistic genius.In 1882 he began studies at the Normal School of Drawing of Maracaibo, later designing the Throne of Our Lady of Chiquinquirá, where he carved the Angels in cedar wood; he also won a Gold Medal at the Regional Exhibition of the Centennial of the Grand Marshal of Ayacucho with his painting Una conquista.In 1896, the president of the state of Zulia, Dr. Jesús Muñoz Tébar, granted him a scholarship, as well as Manuel Puchi Fonseca, to perfect his knowledge in Florence, Italy, where he was an outstanding student among great masters of the time.Back in Maracaibo he was appointed director of the School of Drawing and Painting of Zulia, later, he opened his own private Academy, in addition to being a professor of Drawing at the Pestalozziano Institute.This great master of painting died on July 18, 1928, as a result of a heart attack that occurred while painting in his workshop.His last years of life were devoted to landscape painting, stimulated by the Romanian painter Mützner.PROFILE OF MANUEL PUCHI FONSECAOn February 15, 1871, was born in Maracaibo, Zulia, the painter Manuel Ángel Puchi Fonseca, one of the most important painters of Zulia and Venezuela.From the age of nine he received classes at the School of Drawing of the state of Zulia, where he had as teachers Luis Bincinetti and Manuel Soto.In 1888 he participated, like Julio Árraga, in the First Regional Exhibition of Zulia, where both triumphed and the regional government awarded them a scholarship to study in Italy, receiving classes at the Academy of Fine Arts in Florence, where they took the opportunity to visit Rome and Genoa, and then return to Maracaibo in 1897.Manuel Puchi Fonseca was able to win the appreciation of the community and the recognition of artistic criticism. Immediately after his death, which occurred on June 29, 1941, the former Municipal Council of the Maracaibo District, declared Official Mourning for three days, considering it the glory of Venezuela and Zulian pride.By: Agustín Arteaga Manuel Angel Puchi Fonseca Full name Manuel Angel Puchi Fonseca Birth February 15, 1871, Maracaibo, Edo Zulia - Venezuela Death June 29, 1941, Maracaibo, Edo Zulia - Venezuela Venezuelan nationality Painter Area Biography Painter. He completed his first studies at the State School and began art classes in 1882 at the State School of Drawing, under the direction of Luis Bicinetti, where he had Julio Arraga as a classmate and received classes from Manuel S. Soto. His crayon drawings were recognized early, such as the portrait of José Andrade (1882, Government Palace collection, Maracaibo) and that of Dr. Gregorio F. Méndez (1892, Salón de Actos Académicos, LUZ collection). In 1888 he participated alongside Arraga in the "First regional exhibition of Zulia" (Maracaibo) and began to teach at the María Teresa Rodríguez del Toro State School (1889-1939). As a result of the triumph of Arraga and Puchi in a contest, the Regional Government resolved to grant them a scholarship of 300 bolivars on June 25, 1896. That year, contrary to what Caracas artists were used to, who sought guidance in the French academy, Arraga and Puchi embarked for Genoa on July 28; from there they moved to Florence (Italy), where they took classes with Tomino Piero at the Circle of Artists and with Arturo Faldi at the Florence Drawing Academy (Italy); Simón González Peña also names Ursi and Ferrini among his teachers (1924, p. 46). His colleagues from the Circle of Artists in Florence (Italy) praised his work Camel and awarded El blush (1896, Official Residence of the Governor, Maracaibo collection). After a brief trip to Rome and a return to academic activities in Florence (Italy), they decided to return to Maracaibo, where they arrived on September 3, 1897. Puchi went on to hold the chair of drawing at the School of Arts and Crafts and founded the Michelena School. The following year, with Arraga, he returned to attend the "Regional Exhibition". In 1910 his work Miranda mártir (today in the Casa Morales or Casa de la Capitulación) was unveiled in the hall of the Municipality of Maracaibo (El Cojo Ilustrado, August 1, 1910) and the Regional Executive rewarded his Bolívar in the ruins of San Jacinto, acquired by the Municipality of the Bolivar District (Maracaibo). In 1911 he participated in the "International Exhibition of Industry and Work" in Turin (Italy) with The Last Kiss.It did not take long for two groups of admirers in Maracaibo to form in favor of one of the two painters, who had seen their prestige increase with the trip to Europe, a fact that, however, did not disturb their friendly relationship, but rather, on the contrary, the led in 1916 to group talents in the creation of the Artistic Circle of Zulia, initially chaired by Arraga. Two years later, both appeared in the "Exhibition of painting, sculpture and decorative art" of the Círculo Artístico del Zulia and they dedicated themselves to traveling through the Andes, looking for reasons for their works in that region. Puchi was president of the Círculo in 1920. In 1917 he won the contest to create the state shield. He exhibited in Caracas on several occasions, landscapes in 1910, miniatures in 1919 and again landscapes in 1921 and 1922. In 1936 he made historical portraits for the recently created General Rafael Urdaneta Historical Museum (Maracaibo), and in 1939 he produced one of his last works. , the portrait of Gregorio Fidel Méndez (Casa de la Capitulación collection, Maracaibo). In 1941 he would be responsible for founding the Julio Arraga School of Plastic Arts in Maracaibo, which he directed until the year of his death, in 1946. Puchi addressed the religious theme as in Nuestra Señora del Carmen (1907, collection of the Church of El Moján, Edo. Zulia), Apparition of the Virgin of Chiquinquirá (1910, Basilica of Our Lady of Chiquinquirá collection, Maracaibo) or the notable Procession of the Holy Sepulcher (1930), which he gave to his student Gabriel Bracho. That same year he produced a Study Head (Erika Wulff de Vaamonde collection, Caracas), which demonstrates his exceptional skills as a portrait painter. Arraga and Puchi Fonseca are undoubtedly the most important Zulian painters of the first decades of the 20th century. The realist trend, the official commissions for portraits of regional heroes and, under the influence of the former, the landscape theme with a predominance of light tones, governed much of Puchi's work. However, critics affirm about the latter that "his work differs from that of Arraga; he was more attached to academic principles, from which he derived his tendency to prefer the themes of genre painting and the treatment of the human figure. If we make an exception of his paintings of historical motifs (portraits of heroes, battles) with which he began, we will find two stages in his production: the first refers to genre paintings made within a classical concept, with an academic sense, as can be can be appreciated in his best-known work La violetera (Zuliano Institute of Culture collection), and in which the intention to continue in the tradition of the Venezuelan masters of the 19th century can be appreciated; and, finally, a style is observed, the last of his career, in which the technique becomes more free and spontaneous, as befits his purpose of capturing characteristic scenes of Maracaibo, in a landscape search through which the link that this artist established with the so-called School of Caracas is evident. , as occurs in his latest works" (Erminy and Calzadilla, 1975, p. 84). This is the biography of who painted this beautiful work of art.

Price: 3500 USD

Location: Orange, California

End Time: 2025-01-25T21:06:22.000Z

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