Fernando Botero

James Goodman Gallery, New York
Acquired by the present owner from the above in 2001

Museo de Arte Contemporáneo de Caracas Sofía Imber, Botero, October 1996, cat. no. 2, p. 86, illustrated and illustrated on the cover

Jean-Clarence Lambert, ed., Botero Sculptures, Bogotá, 1998, no. 218, illustrated

This work is in very good and sound condition overall. There is evidence of light pitting inherent to the casting process. There are a few scattered fine surface abrasions. Otherwise, there are no apparent condition problems with this work.
In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective qualified opinion.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING CONDITION OF A LOT, ALL LOTS ARE OFFERED AND SOLD "AS IS" IN ACCORDANCE WITH THE CONDITIONS OF SALE PRINTED IN THE CATALOGUE.

Voluptuous figures have been a fundamental leit-motif in the impressive quinquagenarian career of Fernando Botero. The artist's aesthetic evolved from a seminal visit to Italy when he first encountered the volumetric art of Michelangelo, Masaccio and Giotto at the age of 19.  Botero was astonished by the sensuality of their work and the idea of volume on a flat surface and immediately began to work in that very direction in an effort to achieve an exaltation of life through volume and sensuality.

In the present Dancers, the male and female partners are stoic and frozen in a seemingly timeless tango. Rendered in the nude, the couple, whose independent volume is tangible, remains sensual even in their sculpturally frozen conundrum. The artist himself stated, "I never give expressive facial features to my human figures. I don't want them to have personalities but to represent "types" that I create...What I am concerned with is form--creating smooth, rounded surfaces that emphasize the sensuality of my work," (Edward Sullivan, Botero: Sculpture, New York, 1986, p. 55). Botero's vision therefore, is a highly personal ideal of constructed wit and charm as the figures are focused only on their quixotic dance. The precision of their form and elegance of their gesture illustrate the genius of Botero and the life-long love affair he possesses for his subjects and medium.