Born in Medellín, Colombia, Fernando Botero began working as an illustrator at the age of sixteen at a local literary magazine. These early drawings were far more naturalistic and traditional than his better-known mature style of inflated figures and overstated images. Romantic Spanish-speaking poets such as Francisco García Lorca and Pablo Neruda as well as local music were among the earliest influences on his art. Later Botero recalled: "I have seen Colonial churches since I was very small, Colonial painting and polychrome sculpture. And that was all I saw. There was not a single modern painting in any museum, not a Picasso, not a Braque, not a Chagall. The museums had Colombian painters from the eighteenth century and, of course, I saw Pre-Columbian art. That was my exposure."
Though his interest in art began in Colombia, Botero eventually traveled to Europe in the 1950s, where he encountered the work of old masters like Giotto and Goya, as well as the art of more contemporary avant-garde artists like Picasso and Braque. He studied fresco technique and art history in Florence between 1953 and 1955, which greatly influenced his subsequent work. Many of his paintings and sculptures, for example, actually contain references to such European masters as Jan Van Eyck and Peter Paul Rubens and embrace the Renaissance tradition of voluptuous nudes and statuesque figures. It was in Europe during his formative years that Botero began to simplify his images and shortly thereafter developed his signature style: oversized, sometimes grotesque, figures and inflated still lifes that expand across the composition. In the 1970s, Botero translated his oversized images to sculpture, producing enormous bronze figures and animals that literally measured eight to fifteen feet in height and length.
Botero's art often depicts scenes of leisure in which people are shown drinking or dancing. Though his satirical renderings may seem humorous at first, they are often laden with social and political commentary. Dancing in Colombia depicts a lively café scene. The room seems overcrowded with seven musicians, two dancers, and a jukebox. Details such as the floor littered with cigarettes and fruit and the exposed light bulbs on the ceiling suggest that this particular café is rather seedy, attracting clients of a decadent and perhaps immoral nature. One can almost imagine the odors of sweat, tobacco, liquor, and cheap cologne that fill the space or the rooms upstairs that can be rented by the hour, although none of this is explicitly communicated. Curiously, there is a vast difference in demeanor between the two groups of figures. The musicians stare blankly and seem to be part of an inanimate still life arrangement. They are the backdrop for the inexplicably smaller couple who dance before them with wild abandon, hair and legs flying. Like other works from this period, the surface of this painting is extremely smooth, with few traces of brushwork; color is muted, although small areas of red, yellow, and green appear garishly bright.
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Inscription: Signed and dated (lower right): Botero '80
private collection, Paris (1980–83; their gift to MMA)
Tokyo. Seibu Museum. "Fernando Botero," June 27–August 4, 1981, no. 52 (as "Bal en Colombie," lent by Fernando Botero, Paris).
New York. The Metropolitan Museum of Art. "Ten New Narrative Paintings," September 15–November 30, 1983, no catalogue.
Museum of Art, Fort Lauderdale. "New Narrative Painting: Selections from The Metropolitan Museum of Art, New York," February 9–26, 1984, no. 6 (as "Night in Colombia [Dancing in Colombia]").
Mexico City. Museo Rufino Tamayo. "Nueva Pintura Narrativa: Coleccion del Metropolitan Museum of Art, Nueva York," November–December 1984, no. 5 (as "Noche en Colombia").
Phoenix Museum of Art. "New Narrative Painting: Selections from The Metropolitan Museum of Art," March 14–April 27, 1986, unnum. brochure.
San Diego Museum of Art. "The Art of Music," September 26, 2015–January 5, 2016, extended to February 7, 2016, no. 166.
Grace Glueck. "The Met Makes Room for the 20th Century." New York Times (September 18, 1983), p. H30.
William S. Lieberman in "Twentieth Century Art." The Metropolitan Museum of Art: Notable Acquisitions, 1983–1984. New York, 1984, p. 103, ill.
William S. Lieberman. Nueva Pintura Narrativa: Coleccion del Metropolitan Museum of Art, Nueva York. Exh. cat., Museo Rufino Tamayo. Mexico City, 1984, pp. 8, 41, ill. (color) and ill. cover (color).
William S. Lieberman inNew Narrative Painting: Selections from The Metropolitan Museum of Art. Exh. cat., Museum of Art, Fort Lauderdale . Fort Lauderdale, 1984, unpaginated, no. 6, ill. (overall and detail) and ill. front cover (color).
Laurence Libin and Constance Old inDance: A Very Social History. Exh. cat., The Metropolitan Museum of Art. New York, 1986, pp. 118, 120, 128, fig. 4-20 (color).
Kay Larson. "The Met Goes Modern: Bill Lieberman's Brave New Wing." New York Magazine 19 (December 15, 1986), p. 47, calls it "Night in Colombia".
William S. Lieberman in20th Century Art: Selections from the Collection of The Metropolitan Museum of Art, New York. Vol. 2, Painting: 1945–1985. New York, 1986, pp. 7, 54–55, ill. (color, overall and detail).
Robert S. Cauthorn. "Canvas Sirens: Alarming Show from New York is on View in Phoenix." Arizona Daily Star (April 6, 1986), p. E1, ill.
Maureen Mullarkey. "Tuesday at the Met." Hudson Review 40 (Summer 1987), p. 200.
Edward J. Sullivan and Jean-Marie Tasset. Fernando Botero: Monograph and Catalogue Raisonné, Paintings 1975–1990. Lausanne, 2000, p. 296, no. 1980/ 3, ill. and ill. p. 77 (color), call it "Ball in Colombia" and erroneously locate it still in a private collection.
Juan Carlos Botero. The Art of Fernando Botero. [Madrid], , ill. pp. 214–15 (color).
Sandra Benito inThe Art of Music. Ed. Patrick Coleman. Exh. cat., San Diego Museum of Art. San Diego, 2015, pp. 191, 194, 299, no. 166, ill. pp. 184 (color detail), 195 (color).
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