Beatriz González 1932~2025《貝婭特麗絲‧岡薩雷斯：與您共度此歷史時刻的榮幸，作品集 1965-1997》20世紀最重要的拉丁美洲藝術家之一，影響了戰後繪畫的發展方向，並以策展人、教育家和導師的身份為哥倫比亞博物館的發展做出了貢獻。

 Beatriz González 1932~2025《貝婭特麗絲‧岡薩雷斯：與您共度此歷史時刻的榮幸，作品集 1965-1997》20世紀最重要的拉丁美洲藝術家之一，影響了戰後繪畫的發展方向，並以策展人、教育家和導師的身份為哥倫比亞博物館的發展做出了貢獻。

Beatriz González
Gonzalez in 2015

“I don’t want to be Botero or only a lady who paints,” Beatriz González said in the early 1960s, a statement she would later revisit. It captures the path forged by the Colombian artist, writer, curator, educator and intellectual—known as la maestra—who died in Bogotá on January 9 at age 93.

「我不想成為博特羅，也不想只是做一個畫畫的女人，」貝婭特麗絲·岡薩雷斯在20世紀60年代初說道，這句話她後來也再次提及。這句話概括了這位哥倫比亞藝術家、作家、策展人、教育家和知識分子——被譽為「女大師」——的人生軌跡。她於1月9日在波哥大逝世，享年93歲。 岡薩雷斯於1932年出生於桑坦德省首府布卡拉曼加，在哥倫比亞動盪的時代背景下成長。當時，抽象藝術或她同時代的費爾南多·博特羅的獨特風格等其他藝術形式盛行。她成為20世紀最重要的拉丁美洲藝術家之一，影響了戰後繪畫的發展方向，並以策展人、教育家和導師的身份為哥倫比亞博物館的發展做出了貢獻。

Born in 1932 in Bucaramanga, the capital of the department of Santander, González came of age in a turbulent context in Colombia, when other forms of expression, such as abstraction or the distinctive style of her contemporary Fernando Botero, reigned. She became one of the most important Latin American artists of the 20th century, influencing the direction of post-war painting and helping to shape Colombia’s museums as a curator, educator and mentor.

https://www.theartnewspaper.com/....../beatriz......

Yet her work is dynamic enough to suggest many things and offers intriguing, if oblique, points of comparison with certain of her New York contemporaries. Her work has, for instance, parallels with that of Andy Warhol. Both artists deal with similar popular material, from tabloid disasters to Last Suppers. Both embody their images in low-art forms (Warhol in industrial silk screen, Ms. Gonzalez on inexpensive furniture). Both disguise an art of passionately alert social observation, behind a facade of studied neutrality.

Warhol, of course, was a key player in the international mainstream market. Ms. Gonzalez is not. She has chosen to forge an artistic universe from her home turf, and it is one of remarkable richness and depth. It is no surprise to learn that when a catalogue of her collected work was being prepared in Colombia in 1984, she insisted the book be titled ''Beatriz Gonzalez: Provincial Artist.'' Like many of her colleagues across the world in the multicultural 90's, she has turned a ''peripheral'' status into a badge of pride.

''Beatriz Gonzalez: What an Honor to Be With You at This Historic Moment, Works 1965-1997'' 

她的作品充滿活力，蘊含著豐富的內涵，並與一些紐約同時代藝術家形成了耐人尋味卻又略顯隱晦的比較。例如，她的作品與安迪沃荷的作品有著許多相似之處。兩位藝術家都關注類似的流行題材，從八卦醜聞到最後的晚餐。他們都將圖像融入低俗藝術形式（沃荷運用工業絲網印刷，岡薩雷斯則運用廉價家具）。他們都以刻意營造的中立表象掩蓋了對社會敏銳而充滿激情的觀察。 當然，沃荷是國際主流藝術市場的重要人物。岡薩雷斯則不然。她選擇在自己的家鄉打造一個藝術世界，而這個世界卻無比豐富而深刻。毫不奇怪，1984年哥倫比亞編纂她的作品集時，她堅持將書名定為《貝婭特麗絲·岡薩雷斯：地方藝術家》。如同同世紀90年代多元文化背景下世界各地的許多同行一樣，她將「邊緣」地位轉化為一種驕傲的象徵。 《貝婭特麗絲‧岡薩雷斯：與您共度此歷史時刻的榮幸，作品集 1965-1997》