Fernando Botero Angulo (born April 19, 1932) is a Colombian figurative artist. His works feature a figurative style,
called by some "Boterismo", which gives them an unmistakable identity. Botero depicts women, men, daily life,
historical events and characters, milestones of art, still-life, animals and the natural world in general, with
exaggerated and disproportionate volumetry, accompanied by fine details of scathing criticism, irony, humor, and
ingenuity.
Self-titled "the most Colombian of Colombian artists" early on, he came to national prominence when he won the
first prize at the Salón de Artistas Colombianos in 1958. Working most of the year in Paris, in the last three decades
he has achieved international recognition for his paintings, drawings and sculpture, with exhibitions across the
world. His art is collected by major museums, corporations and private collectors.
In 2005 Botero gained considerable attention for his Abu Ghraib series, which was exhibited first in Europe. He based the works on reports
of United States forces' abuses of prisoners at Abu Ghraib prison during the Iraq War. Beginning with an idea he had on a plane journey,
Botero produced more than 85 paintings and 100 drawings in exploring this concept and "painting out the poison." The series was
exhibited at two United States locations in 2007, including Washington, DC. Botero said he would not sell any of the works, but would
donate them to museums.
In 2006, after having focused exclusively on the Abu Ghraib series for over 14 months, Botero returned to the themes of his early life such
as the family and maternity. In his "Une Famille" Botero represented the Colombian family, a subject often painted in the seventies and
eighties. In his "Maternity", Botero repeated a composition he already painted in 2003, being able to evoke a sensuous velvety texture that
lends it a special appeal and testifies for a personal involvement of the artist. Interestingly, the Child in the 2006 drawing has a wound in
his right chest as if the Author wanted to identify him with Jesus Christ, thus giving it a religious meaning that was absent in the 2003
artwork.