GREAT PAINTING TRIBUTE TO THE VICTIMS OF TERRORISM OF NEW YORK AND WASHINTON 11 SEPTEMBER 2001
BIOGRAPHY “UNSTOPPABLE” CARLOS ACOSTA
COMMUNICATOR PAINTER / 50th ANNIVERSARY 1968-2018
“I want to dedicate this book to all those who, with efforts in their profession, have given their lives to progress and expect public recognition, being immortal for their efforts and struggles in the world.”
Carlos Alberto Acosta Azuaje
I have collaborated in the writing and editing of this book that aims to be a tribute to the 50 years of artistic career of the painter Carlos Acosta (1953-2018). It has been a great honor for me to write it and have the privilege of having the testimony of the protagonist, as well as direct access to abundant material of his professional dossier, so I can assure you that all the documents and photographs that appear in this one Book are original.
Carlos Acosta with 28 years painting in his atelier of Sant Germain (Paris) his painting “Inspired by the Fantastic Symphony of Hector Berlioz”. Carlos listened to classical music when painting.
UNITED STATES (1978-1980)
UNITED STATES (1980)
BASQUE COUNTRY (2001)
HONG KONG (2008)
The painter Carlos Alberto Acosta Azuaje, better known as Carlos Acosta, was born in 1953 in Maracaibo (Venezuela), fruit of the marriage between Hernán José Acosta Carrasquero and Carmen Cristina Azuaje Montell de Acosta; his grandparents were of Basque and French origin. The name Acosta is considered the oldest in Spain, possibly existed since Roman times and there was also a Gothic king called Acosta, whose lineage passed to Portugal; Diego de Acosta would be born in Madeira and on the island of El Hierro there would be, as a principal family, that of Bueno de Acosta. The surname returned from Portugal to the peninsula transformed into Dacosta or simply Costa, and then again spread throughout the Spanish territory.
The original shield has a naked child with an olive branch in his hand, abandoned but with hope. The current shield is represented by six saber ribs, grouped in pairs in black on a white background.
The word Acosta refers to an orographic accident and means “road in slope” or “inclined terrain”, what I translate as having an arduous road ahead that must be promoted or also having to reach things “at the expense” of a lot of effort. And this is how Carlos’s life has been, hard, full of work and sacrifice in pursuit of his goals.
The city of Maracaibo is one of the paradises of Venezuela, with its saltwater lake of the Caribbean Sea, that warm breeze that makes rocking the palm trees that surround it, the smell of tropical fruit and the eternal lightning of Catatumbo, illuminating the sky every night, like divine greeting, alive and attractive radiance, of which Carlos says that he took the energy to paint his paintings, with the bright colors of the State of Zulia “The land of the Sun Beloved”. They say that the name was given in honor of Princess Zulia, a beautiful Indian woman, known for her intelligence and spirituality that, when her father died, she became a great warrior and strategist, forming and directing her own armies and defending her territory with great courage, until falling in battle. Zulia also means “Venezuela Tuya”. And another curious thing is that the name of Maracaibo in the indigenous language is called “Maarekaye”: place in front of the sea.
“This is the most beautiful city that exists on the continent, it has lake, china and bridge, bagpipe and hospitality, it has the heat and the highest quality people”.
A Maracaibo is called “the city of music”, not only because it is the birthplace of famous singers, but because it is said that the people there speak as if they were singing, with a sweet and well-tuned stop, a unique way of speaking that denotes the cordiality of its people and its good humor. Carlos continues to preserve his characteristic character when speaking, despite having been in Spain for many years.
There is a melody that perfectly defines the character of Maracaibo, it is called “The Gray Zuliana”, was composed by Ricardo Aguirre in 1967. It is a song that expresses in its lyrics the devotion for the Virgin of Chiquinquirá and the struggle of the Zulia people because the State of Zulia is recognized and taken into account by politicians. In the State of Zulia they never got to obtain the independence, the letter of this melody is considered the anthem of the zulianos:
“At all times when my queen goes out to the street, your beloved people have become confused in one love, immense love, glorious, sublime and tender, heavenly love, divine and holy, may your kindness be my Mother if the government does not help the Zulian people, you will have to put your hand and send them to hell. “
Chorus: “The Zulian flock like a popular rosary, on its knees will implore its patron, and a mountain of prayers wants to give this master bagpipe that the Saladillo intones to her. Maracaibo has given so much, that should have roads in bulk, with charcoal morocotas. They finished with the money and they laughed, but they can backfire. “
I would say that it is an authentically Zulian way of reflecting the discontent of the people.
It so happened that that same year 1953 in which Carlos Acosta came into the world, television began to operate in Venezuela (2 years earlier than in Spain). President Marcos Pérez Jiménez inaugurated the National Television (TVN) formed by two private channels for commercial purposes: Televisa and Radio Caracas Televisión, the channels that Carlos watched as a child. They were followed by Ondas del Lago (Maracaibo) and Radio Valencia Televisión; but until 1994 Televiza was not inaugurated in Maracaibo, the station that became more popular.
Precisely Carlos Acosta came to be interviewed in Televiza, Ondas del Lago, Radio Maracaibo, Ondas del Zulia, Radio Popular, Radio Aeropuerto, in La Verdad newspaper, in the newspapers Panorama and La Columna and in the Casa del Periodista of Zulia.
Also in 1953 the Hotel del Lago was inaugurated, an imposing white building on Avenida El Milagro on the edge of the lake; the first building in the city that had air conditioning and a place where all the artists and famous people stayed. This hotel had an exhibition hall that Carlos would often go to see pictures or witness auctions of them.
The mother of Carlos had him very young, being his first son and before his little experience, it was the custom that her parents were responsible for raising him; so nothing else to be born, his parents took him to his grandparents’ house, where he lived more than 10 years.
Carlos remembers a happy childhood, because he felt very loved and protected by his grandparents; They instilled in him values such as respect and kindness, the defense of injustice and love for others, things that have always been very present in his life.
A beautiful anecdote of his childhood is that the poet Ismael Bracho went to his house and dedicated this poem to him the day he turned one year old:
“Congratulations to Mr. Hernán Acosta and his wife, and to his angelic child Carlos Alberto
who is celebrating his first year of his birth today.
Charm of their parents.
Today in verses my proclamation, with my congratulations that I had the information by the Panorama Newspaper.
Stanzas with kindness, for you and your lady, which also corroborates your little boy a greatness.
The delights of your home, the party was very lucid, it was a year of life his angelic little boy.
Carlos Alberto beautiful, delirium of his dad, charm of his mother, is nice and funny.
To Pedro Azuaje and his wife, I congratulate the two of you, grandparents of your little boy, a very grandiose garment.
With my cordial greeting, Hernán with sincerity, I wish prosperity to your angelic child.
In your respectable home happiness reigns. “
July 18, 1954 Ismael Bracho Popular poet
It must have been a great celebration and also the augury of his future relationship with the art world.
In Maracaibo, artists such as the singer Armando Molero were born; Cecilio Acosta, writer and member of the Royal Academy of the Spanish Language; journalists José Semprún and Alexis Blanco, Director and Editor in Chief of the newspaper Panorama; Udon Antero Pérez Machado, with a Lyceum that bears his name and is built in front of his statue, is said to be the largest of the Marabina poetry; also it is possible to emphasize the sculptor Oscar d’Empaire, President of the Center of Fine Arts Ateneo de Maracaibo. All of them well-known personalities and very valuable teachers in the life of Carlos Acosta.
Carlos remembers the lake as an immense blue space that gladdened his soul, surrounded by palm trees and old colonial Spanish palaces that were reflected in the water. The Lake of Maracaibo has beaches and Carlos was sometimes to bathe with his cousins, when he went to visit his aunt Gloria Cristina who had a house very close to the shore of the lake.
In that lake of salt water of the Caribbean Sea, the fishermen cast their nets and brought them out full of fish, to supply the stalls of the old Mercado de La Marina.
It is said that pirates often attacked the port of Maracaibo, so the Spaniards invested many resources in military defense constructions such as the barracks and castles that can still be seen today, with their beautiful facades with balconies of white colonnades that They give an air of distinction to the area, with its beautiful facades with white balconies and large arcades that give an air of distinction to the area.
In the lake of Maracaibo ferocious naval battles were fought, for being a strategic point of direct connection with the United States, very frequented by the retailers.
In its surroundings there are emblematic buildings such as the Castle of San Carlos de la Barra, the Fort of Nuestra Señora del Carmen and the Torreón Santa Rosa de Zapara. Other buildings that stand out in the city are the Baralt Theater, Art Deco style and neoclassical structure, which was the first stage where films were screened in the country, in 1986.
Precisely Carlos made a sample of his paintings in the exhibition hall of the Baralt Theater, with the help of his uncle Roberto Rendina, who provided him with the materials to paint. Carlos had already tried to paint with cement and ground stone and he liked to innovate; his uncle had many things for the garage, including a boat with a strange, black substance, similar to oil, which turned out to be what they give in the roofs to waterproof them; Carlos thought that this liquid would be good for painting one of his paintings, but the result was that the substance did not dry up and the painting was dripping all the time, which caused a lot of laughter to his uncle and him, which were not very clear how to solve it; In the end, Carlos thought of sprinkling it with sand from the beach and the painting remained a kind of living galaxy that was transforming day by day. He was exposed until he self-destructed.
The Basilica of Maracaibo is another imposing building of the city, it clearly shows the influence of the Baroque style, which characterizes many Spanish cathedrals. His real name is long, as it is customary to put the names there, as it turns out that it is called: Holy Metropolitan Cathedral Church of the Blessed Apostles San Pedro and San Pablo. It is located within the Barrio del Saladillo, which is so named because it was built on a salt mine; This is the typical area with more character of Maracaibo, the color of its facades is unique, its little houses attached to each other, are painted in green, pink, yellow, garnet and orange, all a multicolored mosaic. The interior of the walls of these houses was made with bamboo canes, which were then covered with cement, other houses are made with shells of coconuts, clay or stones, with large wooden windows. The layout and appearance of the streets of this area of Maracaibo are reminiscent of those of any Castilian village. In this area you can find artisans from all over the region and old traditions are preserved. The C / Carabobo del Barrio del Saladillo was declared in 1990 as a place of historical value, which is now part of the artistic and cultural heritage of Maracaibo.
The Virgin of Chiquinquirá, affectionately called “La Chinita”, is the patron saint and queen of Zulia State. It is named after the municipality called Chiquinquirá, where the first of its miraculous manifestations took place and where the canvas considered original rests. This canvas is taken down from its throne during the Marian Jubilee Year, which is every 7 years, to parade in procession through the streets.
The Virgin is represented in the Basilica of Our Lady of Chiquinquirá, in the Barrio del Saladillo, on a small board that, I was told as a child, was on the wall of a small house built on the shore of Lake Maracaibo; These little houses are called huts. In that place lived an old Indian woman who had that blackened table of humidity, hanging on the wall as if it were a relic. One day the table was illuminated and the light flooded the whole house; When the old woman approached to see why it shone so brightly, she saw in it the figure of the virgin, who shone and blinded her eyes. Then that figure was engraved, as if it were pure gold. That picture has remained over the years and is what can be seen now in the Basilica, built in his honor.
Many miracles are attributed to the Virgin of Chiquinquirá, one of them was precisely on November 18, when a plane had to make a forced landing at the Maracaibo airport, formerly called Grano de Oro. The plane landed without wheels and there were no dead, all were saved; that’s why now the airport is named after this virgin.
In this Basilica the painter Carlos Acosta had one of his paintings on display, very close to the virgin’s tablet entitled: “Christ before the final judgment”, oil on canvas 3 meters high by 2 wide. It is a painting that describes hell-like style and the appearance of Jesus Christ on it, contemplating it. This painting has its history, he painted it in Madrid in 1893, when he lived in a boarding house in C / Hernán Cortés, then took it to Maracaibo in 1985 and then donated it in 1992 to the Basilica of the Virgin of Chiquinquirá. You can see a picture of this painting in the catalog of an exhibition that the artist made in the Orfila Gallery in Madrid in 1996, but he did not show it, since by then, the painting was not in Madrid, but in Maracaibo. In 1998 he himself went to see him at the Basilica to check his condition, but the painting had disappeared, nobody knew anything and they did not want to give him any explanation, so he came to suppose that either he had been robbed or had been sold and never more was heard about him.
The festivity of the Virgin of Chiquinquirá is celebrated on November 18, which is the same day that Christmas begins in Maracaibo. For this reason, a great fair is mounted in front of the Basilica, full of lights and joy, a celebration that Udon Pérez describes in one of his poems:
“And if you feel desires in the suburbs
when listening a furro in the Saladillo
or humming a verse with its refrain
of a happy, talkative music
This is Maracaibo in the middle of the night
showing a waste
of what is maracaibera bagpipe”.
The Zulia bagpipe is heard especially at Christmas and at the La Chinita party. The bagpipes are born in Zulia, where they are heard all year round in every corner of El Saladillo and in every corner of Santa Lucia. It is humility, it is joy, it is a living soul. His lyrics full of clamor and devotion for La Chinita, thrill even the most atheist and some topics, focused on the injustices or the virtues of the Zulia lands, were composed between the 60s and 80s by large groups of bagpipes and authors like Ricardo Cepeda . Today the Zulia bagpipes still have the power to shake everyone who listens to them. For the Zulia, the bagpipe is fair and devotion, it is impossible not to swell with pride when listening to his popular melodies like the furro, the cuatro, the charrasca or the tambora.
Since 2004 in Madrid, “La Chinita” has been worshiped, celebrating the fair in the same way as in Maracaibo, on November 18 there was a mass in his honor and afterwards, the Madrid-Maracaibo musical group offered a serenade gaitera.
Maracaibo is now the most important economic center of western Venezuela, due to the oil activity that develops on the banks of the lake, although precisely because of this the lake is very polluted and it is no longer possible to fish and it is not advisable to bathe. Anyway, Maracaibo has become an impressive city, full of skyscrapers and modern buildings, nothing to do with the ancient residents who lived in palafitos (typical houses of Zulia, which are suspended over the water thanks to wooden pillars subjects at the bottom of the lake) and used canoes to transport themselves; They were good swimmers and fishermen, they were in good health and they lived off the sale of the fish they caught. They were protected by walls of vera, a wood that does not get corrupted, precisely that way they avoided being bitten by the “mosquitoes”, which is what they call mosquitoes there. Maracaibo has numerous commercial routes in the Caribbean Sea and many companies founded by Germans, Dutch, Swedes and Americans.
Before starting to go to school, Carlos’s grandmother, Carmen Teresa, had already taught him the numbers and the alphabet when he was 4 years old, so when he started going to Kindergarten with 5 years old, he was already very advanced. Carlos always tried to excel, he liked to go to school, he was a restless child who wanted to learn everything and he was very good at maths, although when he was taken to the blackboard he would get very red. His teacher, who was called Riquilda, told him that there was no reason for it because he knew it; little by little he was losing his shyness and gaining self-confidence. His father had in his possession the bulletin of the qualifications of every month to sign him, if the grades were not good, he already knew what awaited him … Respect for parents meant studying and having social and civic morals. Precisely then there was a subject that was considered essential, called Moral and Civic. Later Carlos studied at Los Maristas and later at Instituto Hispanoamericano. Carlos receives a strict and catholic education that will accompany him the rest of his life, this may be the reason why he has always been very demanding with himself. The discipline that was applied at that time was believed beneficial for forming the character of children, but today some punishments such as walking on their knees in the yard, seem excessive. There was a subject that was considered essential, which was Moral and Civic. It is true that now many moral values have been lost, but far from imposing them by force, it is best to inculcate them with your own example, both parents and teachers. In the 60s studying was to give light to the surnames, in gratitude to the relatives and their history. “You have to stand out” Carlos told his parents and grandparents. Now Carlos thinks that he likes to study by nature, for being a researcher and philosopher at the same time, for his tendency to analyze things, to know why events happen in history. That is why he is passionate about doing analysis before narrating something, because it is the way to not make mistakes, although mistakes are also learned: “Everything is good, even if it is bad, because it helps to correct aptitudes in life, to remove them or polish them, which means progress and give them shine, turning them into qualities “. What no one can remove or prohibit a human being is that they reflect, because they are something necessary to travel through their existence, through the course of their years and through the world: “Every human will know what is proposed in their life, it does not matter to what is dedicated “.
Carlos is a lefty, and that was previously considered a defect that had to be corrected, so that left-handed children were forced to write with their right hand. His grandparents soon realized that it was useless to force him, in fact they thought that many great geniuses had also been left-handed and that had not meant any obstacle in his career, so they agreed with the teachers to let him write with his left hand , convincing everyone that it was his natural gift.
Carlos remembers that he accompanied his aunt Gloria Esperanza to buy with only three years and that the markets were full of all kinds of products in which he lost his sight; what fascinated him most was the color of the stalls, the mixture of objects and colors. They were good times, there was plenty and at that time all people were happy.
On weekends they went to their parents’ house. His father Hernán José Acosta Carrasquero, was a lover of animals and had a small zoo in the yard, as well as dogs and cats, there were geese, ducks, pigeons, many canaries and parakeets in cages and even a deer female named Mirella, reason for which Carlos likes animals very much.
Carlos never considered his grandparents as his parents, they delegated all the authority to his parents and never intended to take his place, that was clear to him from the beginning.
Carlos adored his grandmother Carmen Teresa, a very active person, always doing things; I used to have the house so full of plants and porcelain figures that the walls could not be seen, but with it I managed to give it a lot of color and life. His grandmother was very affectionate, always aware of him, since Carlos was a very restless child, scrutinizing his sparkling gaze, he never knew which was the next wrongdoing that he planned to do, as when he was about to go like a whirlwind opening all the faucets of the house.
Carlos had some very delicious cookies that were called “La Suiza”, because they came from a factory that a Swiss family had set up in Maracaibo, a factory where they made sweets, pastries, cookies, pastries and chocolate in the style of their land. He also liked a lot of soda crackers (salty cookies) of the Nabisco brand, which were wrapped in a little blue package and were called “Original Social Club”.
With his grandparents he came to live in three different houses. The first house was called Adela, it was a low one in C / Delicias, at that time a working class neighborhood of old houses; Carlos was living there since he was born in the “La Beneficencia” hospital until he was 3 years old.
The second house was in a block of two floors, at the entrance of the urbanization Zapara, near the lake; a zone of upper middle class. At the next door was a dentist’s office and the neighbors were a Greek couple who had a jewelry store. Carlos loved that house because it had a very large balcony, from which the trees and the lake of Maracaibo could be seen in the background, and also because he had land to ride a tricycle and skate.
Since he was 6 years old, every Christmas, Carlos went to the countryside to look for a large branch of a tree without leaves, painted it white and used it as a Christmas tree. When decorating it with his grandfather, he put lots of lights and that’s where his love for electricity came from; he was not a child who played with cars or soldiers, he played with pieces of cables that his father brought him, which were later added light bulbs, batteries, switches, etc. with which he mounted his own electrical circuits.
As a result of these experiments he learned to repair lamps, irons, change keys of light and solve some other fault at home. He had such skill in this that everyone thought he would be a senior electrician, but a couple of strong electric shocks made him give up and turned his attention to other stories.
He flew kites from the balcony that he built himself, but from there he saw his neighbor, who had drone planes, and as usual, they seemed much better than the kites and in the end they became friends and ended up playing together with the planes. As a child his parents took him to the Grano de Oro airport to see planes arriving and departing from all over the world. At that age Carlos still did not know how many planes and flights he would take during his lifetime, nor that it would be usual for him to fly loaded with his paintings under one arm to another.
Then Raphael arrived. The first time Carlos saw him singing was on television, in the “Show of the twelve”, which they saw every day at home. He was fascinated by his voice and his way of interpreting the songs. That was the first performance that Raphael did in Venezuela, in the year 1960 and everyone in his house liked it very much, in fact, the worst punishment they could get their parents as children, was to punish them without seeing Raphael.
From that day, Carlos dedicated himself to locking himself in a room and imitating Raphael, he wanted to sing like him, with those changes of tonality and that force when expressing emotions; and since he did not sing badly, he had a season in which he focused on Raphael, who was his idol. He knew all his songs by heart and was aware of every record he took. His song “Poco a Poco” says that the world is for people who fight, Carlos felt very motivated by the lyrics of that song, and he also realized that each letter, reflected the time in which they lived, like Goya cartons or the “Night Round” painting by Rembrand that reflected the era in which they were painted. All the songs of Raphael were a message for the adolescent Carlos, and that’s when he realized that to do something, he had to feel identified with it. Carlos Acosta’s relationship with Raphael does not end here, as he kept listening to all his songs and watching his films and did everything possible to meet him in person. And indeed he met him in 1975 in Caracas, Raphael was acting in the Tamanaco Hotel, a luxury hotel located on the top of a hill above the valley. As he had no money for the entrance, he went through the door of the hotel staff and came to the restaurant, where he sat at a table, just in front of the stage. The place was filled with people and Carlos went unnoticed, so he could enjoy the performance quietly and see how Raphael gave everything in each of his songs. As soon as he finished, Carlos went straight to his dressing room and came in to see him. There he met a nice and affable man, always elegant in his black attire, who received him asking him: “What can I do for you?” His wife Natalia Figueroa was with him, pregnant at the time by her young son Manuel; She also received him in a very cordial way, so they ended up taking a picture together and Raphael signed her an autograph. Carlos gave them a drawing in Chinese ink, wishing them all the best. There would be born a lasting friendship and new encounters. Raphael and Carlos met again in 1982, at the Teatro Lope de Vega in Madrid, where Raphael performed. In 1975 Carlos celebrated with Raphael his 22 years of career and gave him the painting “Luz de otoño”, a work from his landscape stage. Another indelible encounter was in 1985, when Raphael celebrated his 25-year career; After the performance, he invited Carlos and his friends to dinner at the Hotel Meliá Castilla and Carlos gave him a painting, from his white-on-white period, entitled: “Homage to the Caribbean Sea”, which Raphael hung in his living room. In 1994 Raphael performed at the Amusement Park in Madrid, where he premiered his album “Fantasia”, on this occasion, Carlos gave him a picture entitled: “The sailboats”, realistic style, in deference to that Raphael liked very much the sea. Over the years their mutual admiration continued to grow. The next time that Carlos goes to see him was in 1997, when Raphael performs at the Palacio de Congresos in Madrid, presenting his album: “Soy lo peor”, Carlos gives him some drawings with verses of the lyrics of a song by Armando Manzanero written about them. They will meet again in 1990 at the Teatro Calderón in Madrid, where Raphael performed to celebrate his 30-year career.
Raphael is for Carlos now more than ever, an outstanding artist who transmits strength and enthusiasm, a great talent capable of singing and acting at the same time, which fills the entire stage with his presence. In the 2000-2001 season, Carlos is excited to see his musical “Voy a saber” at the Teatro Nuevo Apolo, where Raphael embroiders him playing Doctor Yekyll – Mister Hyde; on this occasion Carlos gives him a figurative style painting, which represents these characters. The work is a success and Raphael will repeat the same musical in Barcelona and Valencia throughout 2002 and also represent it on Broadway. Carlos thinks that Raphael’s shows are unique, because they combine theater dramaturgy with the passion of his songs, something that makes the audience vibrate at all times. In 2004 Raphael presents his book in Barcelona: “Quiero vivir” (I want to live), a story based on the serious illness he overcame and which led to a liver transplant. Carlos stood in line and picked up one of the books on the table, at which point Raphael signed it and gave it to him as a gift. In 2005, that book accompanied Carlos during a long stay in the hospital and helped him to overcome those difficult times, Raphael’s book served as a great help to lift his spirits and move forward. Carlos made drawings in that book and donated it to the Museum of Raphael’s house in Linares (Jaén). Years later, when Raphael published his autobiographical book “Y mañana qué”, Carlos went immediately to buy it at EL Corte Inglés in Madrid. Carlos has many photos kept of memory with Raphael, his musical idol forever; think that the best love song that has been written at all times is “How I love you”, because you can not say more things in so few words. Carlos likes the character of Raphael and his way of seeing life, such as when he said in an interview that “Criticism was doing the opposite of what he said”. Carlos has never forgotten what Raphael told him before going out to sing at the Palacio de Congresos in Madrid: “Never stop painting”.
Carlos Acosta in the signing of Raphael’s book “Quiero Vivir” after his operation
Carlos Acosta in the signature of the biography of Raphael “And tomorrow what”
Table belonging to the private collection of Raphael
Work that Carlos Acosta gave to Raphael, made on purpose for the premiere of his musical where he masterfully played Doctor Yekyll and Mister Hyde.
Some of the songs of Joan Manuel Serrat, have the lyrics taken from the poems of Antonio Machado, Carlos’ favorite writer. In one of them he says: “People know where they are born but, they do not know where they are going to die”. Likewise, Carlos feels very identified in the poems of Antonio Machado, who for him is a pure man portrait of kindness:
“I’m good in the true sense of the word good.”
Carlos and his grandparents were living in Zapara until he turned 11, when they moved to an apartment on Bella Vista Avenue, a very large and sunny third floor, just in front of the Radio Popular station.
His grandfather, Pedro Miguel Azuaje, was an accountant in the Panorama newspaper and took him many days to his office, where Carlos could sit and watch what he was doing and discover how the newspaper worked; his father would work in that same newspaper, in the editorial department, but he never brought him, because he worked at night, preparing the edition for the next day. That same newspaper would be a fundamental piece in Carlos’s life.
Carlos Acosta was growing up without realizing at the time that he was enjoying the time they called “Los bellos años 60” in Venezuela. With Rómulo Betancourt in the Presidency (1959-1963), followed by Raúl León and Rafael Calderas, the country was submerged in a tumultuous period characterized by strikes, street protests, attempted coups d’etat, divisions of the party in command, civic insurrections military, urban and peasant guerrilla, suspension of constitutional guarantees, disqualification of political parties and attacks on the life of Betancourt.
Social phenomena occurred as the Cuban Revolution, the patoteras of Caracas, appear the first telenovelas of the Latin American boom: Rayuela, The city of dogs, The century of lights, Paradiso or One hundred years of solitude. There is also an intense cultural movement in Venezuela that favors Carlos Acosta, a creative explosion in the field of the arts, with challenging and irreverent artistic experiences. The technique of Venezuelan “Informalism” was born, defined by Juan Calzadilla as: “The search for a new spirit in the substantivity of matter. It will raise the need for a total freedom of action in order to incorporate unpublished materials and procedures into the painting, which serve to elaborate a new vision of the cosmos “.
Meanwhile, American music sounded like a frenzy and rock and roll competed with the classic Caribbean bolero. Carlos listened to the music of the Carpenters and later of the group Supertramp. Carlos and his family had everything they needed to live because, despite all the incidents that unfolded around them, Venezuela was going through a state of economic bonanza, since it had founded OPEC, coming to occupy the first place as a world exporter , so the devaluation of the Bolívar was hardly noticed. The construction of the bridge over the lake in a record time of 10 months, transformed in a remarkable way the life of the Zulia people and the economy of Maracaibo.
In 1965, the National Institute of Culture and Fine Arts, the first modern organism of cultural policy management of the State, was created by official decision. At the beginning of 1968, just as Carlos began to paint professionally, he founded the Monte Avila publishing house and created Imagen magazine, a massive publication specialized in art and culture, by Guillermo Sucre and Esdras Parra. The education wide university careers and opens new universities and colleges, which allow young Venezuelans to access a world of new opportunities.
In 1969 the Young Power emerged, an original youth political movement, in which the rebellious airs of American hip-hop were interspersed with those of the May 1968 student movement in Europe, with the countercultural proposals of the Latin American left.
In those 60s he wore unisex jeans, bell-bottoms, large pasta glasses and wide belts to match with huge plastic bags. Carlos was wearing his jeans and his big collars printed shirts. That way of dressing represented the rebellion of youth and in the 70s it went on to symbolize class equality.
When her grandfather died at the age of 78, her grandmother had to adapt to live seasonally with her children, sometimes at the home of her son who lived in Caracas and other times at the home of one of her two daughters who lived in Maracaibo. , fact that would completely change the life of Carlos, because he had to go live with his parents and his three brothers: Ernesto Enrique, Dorys Cristina and María Cristina, with whom he had barely kept in touch, so that the coexistence was nothing easy for him, since his two sisters were the right eye of his father and his little brother had become the favorite of his mother, so I felt quite alone and displaced in the family, as if it was not his or I was in his house; For that reason he spent a few months at his aunt and uncle’s house, where he could go back to his grandmother, whom he missed so much. What Carlos most yearns for at that time are the arepas that his mother prepared with great affection almost every afternoon for dinner, once made, they ate them with butter or cheese; with a package of flour Pan his mother made arepas for the six, it was a poor dinner but he thought it was delicious.
Carlos was always impressed by the bridge over Lake Maracaibo, which was completed when he was 9 years old, in 1962. This bridge was inaugurated by President Rómulo Betancourt and baptized with the name of Rafael Urdaneta, in honor of this Zulian hero of the war of the Independence of Venezuela, although it is better known by all as “the bridge over the lake”. On this bridge is the largest monument of lights in Latin America, which illuminates the clouds of the sky of Maracaibo at night. Carlos never forgets that when he turned 11, a tragedy happened that left all the Zulians in dismay. A tanker named Esso Maracaibo hit the bridge, breaking a piece more than two meters long; as the accident was at night, the cars did not see it and continued to circulate, so they were falling into the void; this is how 7 people lost their lives, who went in 3 vehicles and in a truck. Carlos remembers how he heard the alarm sound of the ship’s siren from his parents’ house and how everyone woke up scared, not knowing what was happening. It took 8 months to rebuild it and during that time, they set up a ferry so that people would not be cut off from each other and could cross what they call “the tricolor border”. The news was narrated in an extensive report of the Panorama newspaper, whose director at that time was a Catalan businessman named Pineda.
In 1969 there was a major earthquake in Caracas that shocked all its inhabitants. Carlos and his family were watching the Miss Universe contest on television about eight o’clock at night when they heard a loud noise coming from inside the floor, they all went out into the street when the house started to shake, but her sister was in the shower and she stood there scared; then her father came back to find her and got her out in time, but she had a kind of nervous breakdown that at first they thought was a heart attack, her mother got very scared and lost the twins she was pregnant with. They spent the night in the street for fear of the tremors being repeated. Part of the city of Caracas was destroyed and it would take a while to recover. Even so Caracas was a prosperous city, Carlos remembers that in those years taxes were not paid and Social Security was free, he went with his mother to the Health Center and there they gave them medicines, totally free.
All the fruit and vegetables were brought from outside, even though in Caracas the trees give fruit all year round, people bought things in pairs because they were very cheap, the cars were sold out in the dealerships and by the There were thousands of streets circulating. The families were going to Miami to spend the weekend, since the currency of the Bolivar tripled the dollar. Everything grew and reproduced in a city in full transformation, where there were hills and forests, soon appeared skyscrapers and highways lined with bananas and wild pineapples. There was luxury and abundance thanks to oil, that’s why many emigrants came from all over the world, to a place they considered an open-door paradise.
Carlos is a clear observer of society and his time, has a very objective vision of what is happening at each moment and likes to comment on it; he thinks that the emigrants who went to Venezuela in those years of Pérez Jiménez’s government, coming from the Spanish Civil War or the Second World War, were peaceful and hard-working people, with the sole intention of starting a new life and getting ahead, people who joined the country and respected it. An example of this was Colonia Tovar, a piece of Germany, with its typical houses, with white facades with crossed wooden beams, formed by Germans from the state of Baden, who had created a nucleus of population in the mountain and maintained their culture, gastronomy and customs, dedicating itself to agriculture and tourism. Carlos saw it as something positive and that he enriched his country. In fact, this colony is called “The Germany of the Caribbean”, nothing to do with immigration now, in which most immigrants arrive in other countries to invade them, without contributing anything, taking advantage of social aid and causing situations of chaos, inequality, violence and danger for the rest of the citizens. Carlos thought that politicians should be like the doctors of society, to “heal” her.
Regarding immigration, Carlos has always thought that the immigrant integrated into the country he chooses to live is an authentic ambassador of the culture of his country of origin, being that the emigrant will get many doors open, in order to nourish his professional life and your self-esteem. The painter would once say: “I do not emigrate out of necessity, but to magnify my culture, to see other worlds and enrich myself. The Spanish emigration that went to Latin America was selective, since it did not enter the whole world, but the people who were going to do something of profit. What is happening now in Spain and also in France, is that there is an open door with a very high risk of entering criminals and outlaws, which can only harm the country. This did not happen when I lived in Venezuela … I would like to invite the emigrants to think that they not only move their luggage, but their history, so they should try to make the country that adopts them not to go through them, but to pass them through the country , to make history, leaving a trail of progress and achievements. “
Carlos discovered in 1969 the Exhibition Hall of the Municipal Council of Maracaibo, where he was amazed to see the dimensions of the paintings and the vivid colors with which they were painted. It was precisely there where he met the great Oscar d’Empaire, President of the Center of Fine Arts of Maracaibo, who was also a sculptor and made three-dimensional sculptures with wooden assemblies. He immediately became sympathetic to Carlos and eventually acted as his patron, making it easier for him to organize his exhibitions and supporting him in his artistic career unconditionally. After a few years, Carlos went to see him at his office and Oscar told him that, seeing his career, he could write a book about how to succeed, since he had shown his work all over the world, with few means and a lot of courage.
Carlos remembers that Oscar was a man very respectful of art, who prepared every year with great care the exhibitions that were presented in the Hall of the Municipal Council, in order to make known and promote the new artists of the State of Zulia.
Oscar d’Empaire wrote this about Carlos Acosta in 1979, as a presentation of one of his exhibitions; he did it while traveling by plane to Maracaibo:
“I met Carlos Acosta very young, when he spent long hours admiring and studying the works on display, and attending with unusual enthusiasm all the lectures and screenings of art films, which took place in the Hall of the Municipal Council of Maracaibo. Since then, he has devoted himself, with vehemence and passion, to studying and drawing. Now, after spending several years out of town, he returns to present us with a beautiful and interesting exhibition of drawings based on the human figure. The sobriety and sensitivity of these drawings demonstrate the quality of this young artist, whose value is already recognized, without doubt has a bright and promising future.”
When Mr. Oscar d’Empaire retired, his son Juan Carlos d’Empaire took over the management of the Fine Arts Center of Maracaibo and continued to support Carlos Acosta, who made more exhibitions there from 1998 to 2008, with great success and acceptance of the public and the best reviews. One of his admirers and frequent visitor of his exhibitions would be Professor Siuberto Martínez, who became a deputy of the Venezuelan Congress.
Carlos Acosta began to dedicate himself fully to painting at age 15, just after the death of his grandmother; from then on he felt totally alone in the world and dedicating himself to painting was for him a way out of the intense pain he felt in those moments. Painting served to expel his suffering and translate it into each of his canvases.
That’s how it all began, his defense of dignity and human rights, his fight against injustice and his desire to help others. Values that had been transmitted to him from an early age by his grandparents and parents. Since then he has been involved in many social causes, has defended the weak and has participated in campaigns for peace and global unity. Always with the thought that life consists of “doing”, doing things for others, doing things for the world, doing with all your strength and all your energy, during every minute of your life, to feel that your way through the Earth has not been in vain.
Since he did not have money to buy material, he would take his mother’s white cotton sheets to get them to paint, cutting them into pieces and smearing them with egg yolk, until they dried and they were ready to fill them with their paintings.
Locked for hours in his room, he painted with bitumen, iodine, coal, methylene blue and used turpentine to dilute the colors; if he did not have paintbrushes, he would paint with his fingers, use anything that would serve his purpose to give life to the paintings … He even got to sneak paint to the neighbor who had a workshop where he painted cars.
His need to paint saw no limits, it was what occupied all his time.
His father did not see with good eyes that he devoted himself to painting, he thought it was a profession that could not be lived, a waste of time; He wanted his son to be an architect, and Carlos tried, but drawing plans of buildings never had anything to do with his way of painting, so the only thing his father got to oppose was to increase his vocation. What was very important to Carlos was that his father always told him that he should make an effort if he wanted to achieve something in life and that he preached it with his own example.
In 1968 Carlos spent a vacation with his uncle Roberto Rendina, who painted as a hobby and had made some exhibitions. It was he who gave him the first notions of painting and taught him some tricks. This is how Carlos realized how much he was passionate about painting and also that he was strongly attracted by the smell and color of the paintings.
His great grandfather Rubén Carrasquero, was an important painter in Venezuela and Carlos felt that he had inherited his talent and that he should continue with the legacy of his great-grandfather.
In 1969 Carlos discovered the painter Jose Antonio Davila in an exhibition where Davila was awarded the First Prize of the Salón d’Empaire for the painting “Cabina nº 6”, in which the profile of a man was seen inside the booth of a truck, with some pieces of collage. Carlos was very impressed by the use of geometry in that painting and although he did not get to know him in person, he continued his career and knows that he has works in the MACZUL (Museum of Modern Art of Maracaibo), the same where two paintings of Carlos Acosta: “Fireworks” and “Dancers”. That same year Carlos would meet another Zulian painter, Manuel Finol, who was very impressed by his works of bright colors, with great contrasts. He painted his paintings with a spatula, very plastered. In an exhibition that Carlos visited at the Salon of Fine Arts in Maracaibo, he especially liked his painting entitled “Our origin”, which was like a reflection of sunlight. Manuel Finol did not look like a painter, since he was a strong and strong man, with a thick black mustache; I had a rickety truck where I put the boxes to transport them. Carlos has followed his career and knows that Finol has been a graphic designer and photographer since 2000.
Carlos was always convinced that we all have a mission in life and he never lacked the courage or the drive to carry it out, especially after a premonition he had and that he tells himself like this:
“When I was 15 years old, back home from the Maracaibo school, I visualized what my pictorial career was going to be like, images came to my mind with total clarity in which I saw myself painting large paintings, traveling to different places, knowing to people from the art world, exposing my works in galleries around the world, I read very good reviews about myself and my canvases were praised by important personalities, to the point that I received awards and recognitions and they interviewed me in press, radio and television . I saw myself clearly in various cultural settings, in which I moved with ease and determination. This vision filled me with energy and I knew with absolute certainty that this was my future. “
He was so impressed by what happened that he automatically began to write philosophy texts analyzing it, texts that he donated to the Library of Venezuela. When he read Dalí’s biography, he learned that this painter had had an experience very similar to his.
After everything began to happen as he had felt and lived in his mind. From the year 1970 those visions would begin to come true and Carlos began to open many doors.
Imagine the Carlos of that time, a 16-year-old boy who went with one of his canvases under his arm, in pursuit of his dream, walking determinedly on the road, back from a paint shop where he bought the painting material, a store that was far from his home, but to which, in spite of it, he went often. With exactly 16 years, Carlos enrolled, with the consent of his father, at the National School of Plastic Arts Julio Arraga de Maracaibo, to study the Specialty of Graphic Arts. There he coincided with Henry Bermúdez, whom he met at Arte Libre workshops; Henry went to Carlos’s house to see his paintings, which were hung all over the walls of the room and he liked them a lot. When they stopped seeing each other, Carlos followed his career on the internet and knows that Henry is a great ambassador from Venezuela wherever he goes. At the same time that he studied, Carlos also dedicated himself to collaborate in the Technical School of Visual Arts Cristóbal Rojas of Caracas, the institution with the longest tradition in the teaching of the arts in Venezuela, where he stayed in the afternoons to help Régulo Pérez in the painting workshops. The first time Carlos was with Regulo in his workshop and his teacher saw him painting, he told him that he was sure that he had a privileged place in the world of the arts. For Carlos it was exciting to see him in action and he felt great admiration for him, Régulo Pérez had won the National Painting Prize and made drawings for the Diario Ultimas Noticias. Precisely Carlos got to know the director of this newspaper, Nelson Luis Martínez, who would end up commissioning him to make the illustrations for the stories that won the National Literature Award of Venezuela, a job that despite not being paid, he liked and gave to meet the public. At the School of Visual Arts Cristóbal Rojas, Carlos would also meet the surrealist painter Hugo Baptista, national prize of Plastic Arts of Venezuela, who worked as a teacher at the same school; Carlos remembers that his paintings impressed him a lot because they were like moving spots on the canvas.
At that time Carlos also devotes himself to devour biographies of all the characters he admires. He feels very identified with Hector Berlioz, for being a very passionate musician who started his career early, at age 14, composing the “Fantastic Symphony”; Carlos was also touched by the lives of Martin Luther King and Nelson Mandela; the biography of Frank Sinatra, who was of Jewish origin, overwhelmed him with the chapter “The happy years”, because he wondered why he had only been happy during those years, and could have been happy all his life. In the biography of Miguel de Unamuno he found the contradiction that he did not accept himself as he was and ended up denying himself, even though he was a very positive man in his approach to life, but Carlos wondered: why Do people have to deny what they are? in the sense of not taking anything away from his personality or having false modesty. Ortega y Gasset was for him the man who lived his life as a positive revolution against injustice; Gabriel García Márquez, the successor of Cervantes, because for the book of Don Quixote is like “One hundred years of solitude” and of course, Mario Vargas Llosa with his “Conversation in the cathedral”, which for Carlos represents the greatest defender of democracy of Venezuela, which unfortunately would be expelled for it. But above all, Carlos would devote himself to reading the biographies of famous painters such as Leonardo da Vinci, Willian Turner, Modigliani, Rembrand, Henry Matisse, Toulusse Lautrec, Van Gohg, Dali or Picasso. All of them teach him something and get excited about the vital experiences of his protagonists to the point of being reflected in many aspects. Above all, he admires people who manage to triumph by themselves, creatives who let themselves be guided by their own instincts. In his life he considers only those who know more than him valuable, those who have achieved their goals with great effort and who can always learn something; that is why he tries to surround himself with these types of people and have the privilege of their friendship. Luckily you will meet many personalities from the political sphere and the art world, people who love painting that will support you and help you throughout your career, giving you encouragement to continue in difficult times. I’m not sure that all the characters that Carlos came to know in this book are mentioned, but when talking about them, he wants to leave his eternal gratitude and pay them a small tribute, with great respect and affection, especially to those who already they left.
With 17 years Carlos already took flights from Maracaibo to Caracas and vice versa. He made these trips to organize exhibitions and sell his paintings, in a coming and going from six in the morning until six in the afternoon. It was necessary to go there by plane because the distances are huge in Venezuela and, the journey that was made in just 50 minutes of flight, doing it by car would have lasted 12 hours, which would have been a great waste of time.
Carlos remembers that in the 70s in Caracas taxes were not paid and Social Security was free, when he went with his mother to the Health Center, there they gave them the medicines, totally free.
On September 27, 1970, Carlos Acosta managed, with only 16 years, to organize his first exhibition in the Halls of the Venezuelan Association of Journalists of Maracaibo, place where he would exhibit again in 1972, this time alone, filling all the rooms with more than 50 of his paintings. In this place, better known as La Casa del Periodista, Carlos had the opportunity to meet the best journalists in Maracaibo, who helped him a lot to make himself known and promote his work, such as, for example, the Director of the Panorama newspaper, Jorge Semprún He decorated the offices of the newspaper with paintings by Carlos Acosta and also the administrative director of the Panorama newspaper, Roberto Baittiner, journalist and administrative director of the newspaper Panorama, acquired Carlos’ paintings to place them on the walls of the offices that the newspaper had in Miami ( United States), your place of residence.
Jorge Semprún was editor in chief of the Panorama newspaper from 1970 to 1990; during that time Alexis Blanco was the cultural editor. Both journalists managed to be recognized internationally and collaborated a lot in spreading the work of Carlos Acosta and in promoting his artistic career since the 70s, through interviews and articles about his career, attaching photos of his paintings and details of his travels and exhibitions; they are still talking about him, for which Carlos is eternally grateful and the Panorama News means a lot to him.
It is worth mentioning other journalists that Carlos met throughout his career and who supported him in his artistic career as:
CARLOS ON THE INTERNET
Alexis Blanco described him in one of his articles as “flower of perseverance” and continued saying: “Carlos Acosta has been growing in terms of the management of his work, he refers, in the always difficult competitive framework of Madrid, where together with a group of artists from different parts of the world, has been the subject of a promotional tribute from the people who manage the insertion of Internet services in Spain and thus, their work is part of that international spectrum, which we describe with satisfaction and pride from this corner of old Saladillo. “
In 1970 Carlos practiced the muralist technique in the workshop of the painter Gabriel Bracho, there he realized that in the mural the dimensions are very broad and he learned to master the game of perspective and lighting. Fortunately, Gabriel did not mind being seen working or afraid of someone copying his work. Carlos stayed with the phrase of Leonardo da Vinci that says: “The work of the student is to overcome his teacher”.
At that time, Carlos combines the exhibitions with his studies and his painting classes. He liked to teach children because Picasso once said that children were pure, because they did not have any kind of influence. In this argument was based to ask D. Sergio Antillano, director of the University of Zulia and art critic, to facilitate giving classes to children, between 4 and 10 years. Carlos managed to do it for two courses and that’s how he became a painting teacher with only 17 years old. In addition, when Professor Roberto Duro could not go to teach his classes, Carlos replaced him at the Central University of Caracas. In his classes he gave freedom to children so that they could express their creativity, but instilling in them the awareness that this space was for work. That could be achieved thanks to the morality of that time, because at present it does not believe that it would have been possible to maintain that discipline; the difference is that before the teacher was like a father and the students obeyed with respect. In his opinion, the destruction of morale began in 1981 with President François Mitterrand in France, and continued in Spain through the government of the Socialists like Felipe González, who took the first step to destroy the foundations of education and ethics.
This initiative of his to give classes to children was also supported by the artists of that generation that he got to know in the Department of Culture of the University of Zulia, which was the place where the director Sergio Antillano met with all his collaborators of the Department of Graphic Design, including Carlos who was only 16 years old.
Carlos remembers all their names and how much he admired them; Carmelo Niño, Angel Peña, Pedro Piña, Hugo Sanchez Avila, Osbaldo Parra, Edgar Queipo, Felix Royet and Ender Cepeda sat next to him. All of them became great figures and precisely at that stage the University of Zulia made valuable contributions to the art of Venezuela. Some painters of the 70s such as Carmelo Niño, Hugo Sánchez Avila, Angel Peña, Francisco Hung, Pedro Piña and Ender Cepeda founded the group “Six against the thread”, to exalt their works with the support of Lía Bermúdez and Oscar d’Empaire. The experience that he lived with them was very important for Carlos, surrounded by great teachers, with whom he learned a lot in a short time.
In 1969 Carlos discovered the painter Jose Antonio Davila in an exhibition where Davila was awarded the First Prize of the Salón D’empaire for the painting “Cabina nº 6”, in which the profile of a man was seen inside the booth of a truck, with some pieces of collage. Carlos was very impressed by the use of geometry in that painting and although he did not get to know him in person, he continued his career and knows that he has works in the MACZUL (Museum of Modern Art of Maracaibo), the same where two paintings of Carlos Acosta: “Fireworks” and “Dancers”. That same year Carlos would meet another Zulian painter, Manuel Finol, who was very impressed by his works of bright colors, with great contrasts. He painted his paintings with a spatula, very plastered. In an exhibition that Carlos visited at the Salon of Fine Arts in Maracaibo, he especially liked his painting entitled “Our origin”, which was like a reflection of sunlight. Manuel Finol did not look like a painter, since he was a strong and strong man, with a thick black mustache; I had a rickety truck where I put the boxes to transport them. Carlos has followed his career and knows that since 2000 he works as a graphic designer and photographer.
In 1970 Carlos was able to exhibit at the Amubock Gallery, in the Salón de Estudios Fecha, in the Exhibition Hall of the National Congress of Caracas, as well as to introduce his works in the permanent collection of the Ministry of Interior Relations.
In 1971 he exhibited at the Leggio Gallery in Maracaibo, in the Fine Arts Center of the same city, participating in the First Artistic Community Hall and also organized an exhibition in the Halls of the Venezuelan Association of Journalists of Maracaibo, better known as The House of the Journalist.
In 1972 he shows his work in an individual exhibition organized by the University of Zulia in the Association of Journalists of Maracaibo and the Faculty of Architecture of L.U.Z., where he obtains the LUZ Art Prize, named in honor of the painter Víctor Valera de Luz.
Before turning 18, Carlos decides to leave his parents’ house and cross the bridge over Lake Maracaibo, a small border that will connect him with the rest of the world.
Photo of the wedding of the parents of Carlos Acosta, Carmen Cristina and Hernán José; in the corner on the right is his uncle Rubén Carrasquero, followed by his mother next to his father (with a cigar in his hand). The man with glasses who looks out is his grandfather Pedro Azuaje.
Carlos Acosta with 2 years
Carlos Acosta with 3 years; her grandmother puts a hand on her shoulder while her mother holds her brother Ernesto.
Carlos Acosta with 4 years
Carlos, 5 years old at the wedding of his aunt Gloria Esperanza with Roberto Rendina, his grandfather Pedro Azuaje supports a hand on his shoulder and to the right of the photo is Carlos’ godmother. The lady who holds a drink is her grandmother Carmen Teresa Montell.
First drawing of Carlos Acosta with 6 years
Carlos Acosta with his brother Ernesto
The sisters of Carlos, María Cristina and Doris Cristina
Carlos with 8 years old together with his grandmother Carmen Teresa
Carlos with 10 years in the school of Los Maristas
First Communion of Carlos Acosta with 12 years
Carlos Acosta with 15 years showing his work
First interview of the Panorama newspaper with Carlos Acosta on his 22nd birthday
First exhibition of Carlos Acosta
Second exhibition of Carlos Acosta
Exhibition by Carlos Acosta at the Baralt Theater in Maracaibo
Third exhibition by Carlos Acosta at the Casa del Periodista
Young Values Award
Presentation of the painting donated by Carlos Acosta to the Cathedral of Maracaibo; to his left the Governor of the State of Zulia and to his right his father Hernán José
Document of the donation of the painting to the Cathedral of Maracaibo
Carlos Acosta with 24 years
Carlos Acosta with his painting entitled “Galaxia”
Carlos Acosta on the Paseo del Lago de Maracaibo
Carlos Acosta with the lake of Maracaibo in the background
“When I go to Maracaibo and start to cross the bridge, I feel such an emotion that my mind becomes cloudy, I feel a lump in my throat and my heart skips. Without realizing I tremble, without wanting to, I’m crying. “
Although the passage of the bridge was controlled by the police, they did not stop the vehicle in which they were going to ask for the documentation and Carlos arrived at the State of Lara without any difficulty. There he set out to catch a car that would take him to Caracas, where he planned to go to the house of his godfather Pedro Miguel, an uncle of his mother who lived in the fifth called “La Chinita”. His godfather welcomed him with open arms and invited him to stay at his house, where he would stay for a while, although on summer vacation he would go to his parents’ house in Maracaibo, who already knew his whereabouts, but the relationship was still cold .
In the 70s in Caracas taxes were not paid and Social Security was free
Carlos was pleasantly surprised when in 1972, his father showed up at the donation ceremony of his painting in the Cathedral of Maracaibo. The painting was an oil on canvas of large dimensions entitled: “Christ before the final judgment.” Important personalities attended, including the governor. They made a press conference and Carlos, always with his claiming character and although his father warned him before he started not to talk about politics, took the opportunity to say that the state allocated too much budget for sports and very little for culture, what the artists had very difficult.
Carlos got rid of doing the Military Service because when he was recruited, the President of the National Youth Federation of Caracas, Abraham Bellorín, ordered him to look for the army, claiming that he was the oldest son of his family and that it was very necessary in both his house as in the Federation, adding that not only with weapons could a nation be served, but also with culture, which totally convinced the high command that let him return to his godfather’s house in Caracas.
Fully aware of Carlos’ vocation and trusting in the talent of his godson, his godfather enrolled him in the Central University of Venezuela, where Carlos will continue his art studies until 1973; studies that he managed to combine with his facet as a painting teacher, in addition to continuing to paint paintings and organizing his exhibitions.
In the Central University, one of his professors of drawing and painting was Roberto Duró, who remembers his green eyes and tender eyes. Roberto Duró was a surrealist painter of Catalan origin who had triumphed in Venezuela. One day he invited Carlos to his house to show him all the paintings he had kept in his workshop, he complained that when his son died, he had no one to leave his work to. Roberto Duró helped Carlos a lot, wrote presentations for some of his exhibitions and published some art criticism about his very favorable paintings. Marcos Miliani, Venezuelan architect dedicated to the Plastic Arts and Director of the Museum of Fine Arts of Caracas, came to say of Carlos Acosta that his painting was dynamic and immensely rich in color.
Angel Boscán, another excellent teacher of drawing and painting of Carlos in the Central University of Venezuela during the 1972-73 course, organized a Forum in the Aula Magna dedicated to Picasso, who had just died on April 8, 1973. In that Forum Carlos was present at the podium as a speaker, ready to give his lecture, so that both students and the public would ask him about it. That podium was occupied only by 4 people: Pedro León Zapata, caricaturist of the Diario Nacional; José Rato Ciarlo, art critic of the newspaper Ultimas Noticias; Professor Roberto Duró, a painter who taught at the Central University of Venezuela and Carlos Acosta, with only 19 years. Carlos argued that Picasso’s different pictorial styles had a lot to do with each of his women, claiming that they were all art enthusiasts. The pictorial stages of Picasso coincided with the time in which he was living with each of them. That is why he attributed this change in the painter’s style to the fact that the personality of each of these women absorbed him in such a way that it was reflected in his work. There was an interesting discussion about it.
In this University Carlos also had the fortune of having as a professor Siuberto Martínez, who would become a Deputy of the Congress of Venezuela.
In 1973 he exhibited in the Gallery of the Central University of Venezuela in Caracas, the exhibition was organized by professors Angel Boscán and Roberto Duró and in that exhibition his fellow students participated.
Carlos remembered the first time he crossed the threshold of the door of that University, with a beating heart and the emotion of feeling that he was part of that prestigious institution. This place welcomed him and was for him as his second home, since he felt that he belonged to a large family, with people who understood him and considered him, with totally responsible teachers, aware of his important role and fully dedicated to what they taught. The university was a reflection of democracy, a center of civic and moral education, faithful to the traditions and customs of Venezuela, which trained citizens in a way that gave them security in the future. For Carlos, his time there was significant because he had new expectations and a whole range of possibilities to be reflected in his canvas. He felt very proud to be there because famous students such as Gaston Dhiel, who was a professor of Art History, had passed through that university.
In 1974 he participated in the Meeting of Ecuadorian and Venezuelan Painters in the Museum of Fine Arts of Caracas, exhibits in the Art-Nouveau Gallery, a gallery that was in the Gran Vía de Caracas and was very important in the 70s, its owner and director Franco Rosso was a painter of Italian origin who understood very well Carlos, in that same gallery also exhibited Francisco Hung. At that time Carlos will also meet the Belgian painter Marcela Jayé, who had her own art gallery on Avenida Los Mangos in Caracas. She told him something very important, that the artists had to have a lot of lived life and a lot of effort in their interior, so that their painting was not cold and could express the maximum feeling. What she told him helped him to become more involved in humanitarian cases. The following exhibitions by Carlos Acosta would be in the Cristóbal Rojas Gallery in Caracas, in the First Cristóbal Rojas Room and after the success obtained, he exhibits in 1975 at the Caracas Hilton Hotel, the exhibition of the Second Cristóbal Rojas Room. In 1975, in addition to presenting his work in the Exhibition Hall of the Baralt Theater in Maracaibo, he will participate in the Modern Art Festival of the Círculo Militar de Caracas, where in 1976 the National Federation of Young Entrepreneurs of Venezuela organized each year the awards ceremony to the businessmen who will collaborate with them. They always invited Carlos, who has a good memory of those great receptions, which were held in December, so everything was very nice decorated with lights and Christmas decorations and there was a large free buffet, around which he used to toast Champagne and wish the best wishes for next year. Carlos enjoyed that Christmas atmosphere and the good company of all his colleagues in the Federation.
In 1976 he will present his painting “Las gismosas” for the exhibition that was organized in the Gallery L’atelier – Alta Florida, II Annual Salon, entitled “Women, what is it?” Chapter one.
Carlos Acosta manages to introduce his works in the collections of the Cathedral of Maracaibo, in the Basilica of the Virgin of the Chiquinquirá, in the Ministry of Defense, in the Bank of Venezuela, in the Discount Bank of Maracaibo, in the Museum of Art Contemporary Sofia Imber of Caracas, in the Museum of Modern Art in Bogotá and in the CANTV (National Telephone Company of Venezuela).
Carlos was collaborating with the newspaper Ultimas Noticias de Caracas from 1972 to 1975, illustrating stories by award-winning writers commissioned by director Nelson Luis Martínez. By then he could afford to live alone in an apartment and have enough space to paint his paintings and continue making exhibitions. One of them was “A Maracaibo from the world”, in the Hall of the Center of Fine Arts of Maracaibo, a large retrospective with works from 1979 to 1998; more than 50 drawings on canvas in black and white, in a single stroke, with portraits of historical figures such as Mozart or Einstein.
Carlos had the honor of personally meeting Sofia Imber, an extraordinary woman who, in addition to being a journalist and art promoter, was the founder and director of the Contemporary Art Museum of Caracas. She would also meet Lía de Bermúdez, a Venezuelan sculptor who won the national prize and founded the Art Center that bears her name, as well as being the owner of the Agata Art Gallery, where Carlos would be exhibiting.
As of 1978 Carlos will go away irremediably away from Maracaibo, looking for new horizons; while in the air floats a melody that intermingles with your memories:
“Maracaibo at night, from far more beautiful you look, more attractive
with your great Catatumbo and its reflections from when instead kissing your caste in front.
Maracaibo in the night, the one that sees you by air, land or sea, well recreates
to finish, I repeat these words ¡Zulia at night flashes! “.
In a new stage of the busy life of Carlos, he finished his studies in Caracas and was named, with only 20 years, in 1973 he was appointed Director of Culture of the National Youth Federation of Maracaibo. His job was to organize art exhibitions and cultural events. In this Federation Carlos is dedicated to making known talented young painters, and that is when he discovers Otto, a German painter with blond hair and intense blue eyes, who painted on a sidewalk of the Sabana Grande in Caracas, which is like Gran Vía de Madrid He organized an exhibition for Otto that turned out to be a success and a few days later, Otto would tell him that he had heard that Rio de Janeiro could do interesting things with painting, so he went there. Carlos also wants to travel to Rio de Janeiro, but he has a little inconvenience, he has no money for the trip, but since there were no obstacles for him, he goes very determined to the offices of Viasa (the airline of Venezuela) and exposes his situation and the fervent desires that he has to travel to Rio de Janeiro to develop his artistic career. The employee who attended him said: – we will take this into account, since there are people who come here who can afford to donate a ticket. Carlos went back to the offices 15 days later and the employee greeted him with a big smile saying: – Carlos, wait a moment that we already have your ticket to Rio de Janeiro !. Carlos thanked him warmly and never knew who donated the ticket. That was the prosperous and generous Venezuela of those years, where it really helped people who had like him, that need to arise.
As Brazil is stuck to Venezuela, Venezuelans fall very well there, so Carlos felt welcomed from the first day. Carlos settled in a hostel on Rua San Pao, very close to Copacabana beach. With the number of accommodations in Rio de Janeiro, Carlos and Otto agreed at the same hotel, they found themselves the day after their arrival, in the hotel dining room at breakfast time. The two chatted animatedly about the city and their respective plans. From that day on, they found themselves in the dining room early for breakfast and then everyone went to do their things. Carlos enrolled in the workshops of the School of Fine Arts of Rio de Janeiro, to which he went every morning walking along the Paseo Marítimo of Avenida Río Branco; when it was over, as the school was an annex to the Museum of Fine Arts, he recollected himself there, seeing Portimari’s paintings. Then it was approaching the center of the city, a bustling area with cobblestone streets or cobblestones and many flights of stairs, all pedestrian, until it reached Rua San Pao, where there were small Turkish take-away businesses, you bought something and he ate it sitting on the beach of Ipanema. Near that beach there was a large square, a quadrilateral surrounded by four streets, where from Friday afternoon to Sunday, many craft stalls were mounted, especially ebony wood carvings and pottery, but there were also painters who sold there his pictures. One weekend Otto and Carlos settled there, it was only necessary to go early and take a place to set up their stand; They were bought by an employee of the Ministry of Labor and a man from the Bank of Galonceras, who were nearby; for Carlos it was a good experience. But removing those market days, the rest of the days seemed to Carlos bored so he would only be a few months in Rio, since he would return that same year to Caracas. In the afternoons, Carlos would go by bus to Copacabana Beach, where instead of the cruceiro, the dollar circulated, since that was full of American tourists occupying the terraces and contemplating the sea, in a relaxed atmosphere, with that warm music of bossa nova playing in the background. Carlos went because the sunsets from there were impressive, full of orange tones, as the British painter Willian Turner said: “A real show”; Carlos the Copacabana sunsets reminded him very much of the sunsets on Lake Maracaibo.
The Rio de Janeiro of that time seemed to Carlos a monumental and quiet city, with its impressive Christ the Redeemer on top of Mount Corcovado and the huge Sugar Loaf dominating the bay, he liked the character of the people of Rio, full of joy and vitality, people who seemed to walk to the rhythm of samba; but after that good impression, Carlos noticed that it was a city with little cultural life and with little interest in art, perhaps because in those years Brazil was subject to a dictatorship.
Otto returned to Germany and Carlos soon returned to Venezuela, not before leaving his mark in Rio de Janeiro, where he won the Prize of the Art Gallery Bonino and also took the opportunity to donate some of his paintings in the Ministry of Education, the Fine Arts Society of Rio de Janeiro and the National Bank of Brazil. Upon his return to Venezuela in 1974, Carlos would resume his duties as Director of Culture of the National Youth Federation of Maracaibo and continue his artistic career and consolidated. In the press they begin to refer to him as the Zulian painter who stands out in the Venezuelan artistic panorama as a new talent that promises a promising future.
Carlos was dating the president of Pérez Jiménez, but she went to study in London and they never saw each other again. He married at age 21 with an older woman and very dominant, they had two daughters but one day his wife left with the two girls and did not see them either. Carlos knows that they have already been married and that he has grandchildren, who may like to paint and one day wonder who his grandfather is.
Since the breakup of his marriage he devoted himself completely to his painting, expressing all his emotions in his paintings.
Between 1974 and 1976 Carlos Acosta continues to paint and develop his pictorial technique, without stopping to organize more exhibitions. Having already perfected his drawings with a single stroke, he devoted himself to investigate the color, using Van Gohg’s technique based on the three primary colors: blue, yellow and red; placing them contrasted in the compositions and creating multiple ranges of secondary colors, always accepting the theory of the French painter Paul Cezanne that says: “there is no dirty color but badly placed”. Carlos was fascinated by the technique of Marc Chagall, who dedicated himself to painting the bridges of the Seine at different times of the day, sustaining the effects of light that they have at each moment; In his opinion, this technique by Chagall, according to Carlos Acosta, has its origins in the lighting effects used by Rembrandt.
For Carlos, color means life in painting and drawing represents expression. He continues his unstoppable work, painting day and night to organize more exhibitions.
Moving here one of the reflections of Carlos Acosta: “Painting is a writing of images and writing, I composed my next sketch of a painting and gave life painting the letters. That’s why my paintings speak, they have their own language, they mean what I think. Henry Matisse said that painting is complete art, because with it you get the image, you get the theater with the scenes, you get the poetry and you get the music, you even get the photography and the cinema. But I do not agree with him about what he says about the fact that a painting is a comfortable armchair, since for me it is a reflection chair, especially in relation to the transgression of human rights. My paintings seek the defense of dignity, for being a right of all human beings. “
In 1977 Carlos makes the cover of the cultural supplement of the newspaper Ultimas Noticias, supplement called Impacto Cultural; that year he is also very successful with the exhibition of his paintings in the Galería Estudio Caracas, he gets the Young Values Award of Caracas, awarded by a jury composed of professors and art critics; The person who gave it to him was Mr. Juan Calzadilla Altagracia de Orituco, a prestigious poet, painter and critic of Venezuelan art. This prize was obtained thanks to Luc B. Innocent, a Haitian art dealer, who sold paintings by painters from Haiti. He was the one who showed the work of Carlos Acosta and introduced him to the Estudio Fecha Gallery, thanks to which Carlos would win the Young Values Prize that year. Since then a great friendship was forged between them, so that Carlos used to stay sometimes at Luc’s house when he went to Caracas, instead of staying in a hotel. At that time, Carlos was 24 years old and Luc more than 40 years old. In 1978, the day before he left for New York, Carlos met Luc when he left the newspaper Diario Panorama and Luc invited him to spend the night at his house. The next day Carlos had to catch the flight at eight o’clock in the morning at Maiquetía airport in Caracas, Luc asked for a taxi and accompanied him, he went ahead with the driver and Carlos in the back seat with his suitcase; Suddenly the taxi skidded on a curve and a wheel was lost, leaving the road and crashing into the mountain that was on the side of the gutter; that road was full of curves and had no guardrails of protection, on the other side there was a great precipice, so that without a doubt, if they had fallen down there, they would all have died. The driver was very badly hurt and Luc could not move, Carlos only had a scratch on his forehead that was bleeding a bit.
As soon as the ambulance arrived Luc told Carlos not to worry about him, to call another taxi and leave for the airport, so as not to lose his plane. And so he did. He washed the wound in the airport toilets and arrived just in time to catch his flight. When he arrived at the Stanford Hotel in New York, he called Luc’s wife to ask her how her friend was, she told him that at that moment they were operating on him, because he had fractured both legs. Luckily Luc would recover and soon he would walk again. When Carlos returned to Venezuela, the first thing he did was go to see Luc.
Luc B. Innocent was a Haitian poet exiled by the dictatorship of Duvalier, condemned by his book: “S.O.S. Haiti “, censored in his country of origin but could publish in Venezuela. When the dictatorship had supposedly ended, Luc returned to his homeland with his family. One afternoon, some soldiers knocked on the door of his house and took him away; They tortured him and killed him. For Carlos and for many people he was a hero comparable to Nelson Mandela, someone who maintained his principles until the end.
Luc was a very important character in the career of Carlos, an intellectual, lover of the arts who left a deep mark and collaborated in many artistic activities in Venezuela. Through him he met Doctor Angel Peña, an art collector who liked his paintings very much and who in turn introduced him to Nelson Luis Martínez, journalist and editor of the newspaper Ultimas Noticias, which would publish drawings by Carlos and some of your articles in your newspaper.
In 1978 Carlos travels to New York, before going on a trip, goes to the office of the editor of the newspaper Ultimas Noticias, Nelson Luis Martínez, to communicate his intention to continue his career in the United States and ask him to publish it in his newspaper. That day Carlos had a notebook where art critics wrote down his comments, he even had a caricature of him drawn by Pedro León Zapata, who worked as a cartoonist for the newspaper El Nacional; that notebook always accompanied him, as a faithful companion and he could always show it to attach more information about him.
The Viasa flight arrived in New York one particular day in February, it was his second international plane trip; the stewardess, seeing that Carlos was wearing summer clothes, gave her a white polar fleece from the airline, warning her that she would need it, and indeed in New York it had snowed and it was very cold. Precisely the next morning he got up early to go and make some arrangements to the bank and along the way he saw how little by little his right arm was turning purple and stiff; when he could no longer move it and the hand took a bluish tint, he called desperately to a random door to ask for help and he was opened by a colored lady with a wide smile that immediately led him to the bathroom and put his arm under the spray of hot water from the shower for a long time, until the member regained circulation and came back to life. Carlos hurt a lot but possibly, that gesture saved him from being amputated by freezing and he will always be grateful to that woman who immediately knew what was happening to him and acted without speaking, since Carlos did not know how to say anything in English but, during his stay, he had no trouble understanding anyone, because most of the people he spoke with were Spanish or spoke Spanish perfectly.
Carlos had enough money to stay there for a season, as he found that life in New York was cheap and that he had won by switching to Bolívar dollars, the currency of Venezuela. He is particularly attracted to this city because it is in the midst of the gestation of great artistic movements; also check with pleasure that there is security in the streets and that you can walk quietly through them at night. Nothing to do with current situation.
At that time Richard Nixon was in the presidency and everyone danced to the sound of the Bee Gees movie “Fever of Saturday Night”, announced with great fanfare in one of those Broadway theaters with one of those luminous posters surrounded by light bulbs. Precisely Carlos is installed in the Stanford Hotel in Manhattan, in a suite decorated in Louis XVI style, very close to the Empire State Building, but that does not distract him from his goal because when Carlos arrives in New York, the first thing he does is buy a block large drawing and a pot of Chinese ink; he wants to translate immediately, “to the touch” as he would say, his first impressions of the city; For that reason he spends all night drawing, dedicating himself in the future to paint daily, as if that place were his own studio.
The next day he went out to look for art galleries to exhibit those drawings and found the gallery C.O. ART, where he spoke with the director who turned out to be an Italian, settled years ago in New York, with whom he understood very well since he liked Carlos’ ink drawings a lot and told him that he only needed to mount them to organize the exhibition as soon as possible, so Carlos looked for a marquetry shop, chose the frames and had them ready in just a few hours. He loved the efficiency and how well they worked in that city. The New Yorkers seemed very pragmatic and that was a quality that he greatly admired and that he also practiced. That same day he took his prepared drawings to the gallery and the exhibition was inaugurated the following week. Carlos learned something very important from the director of the gallery because, seeing the dossier that Carlos showed him, he suggested that when he talked about something, he would show the page where that document was, in order to certify what he was saying and corroborate his speech with his work, from then on Carlos does it this way. Precisely in this C.O. Gallery ART of Manhattan is where you will receive an Honorable Mention for your work.
Carlos is 24 years old and is invited by the Consulate of Venezuela in New York and the University of Ockland in California, to exhibit a selection of his drawings, made in acrylic and Chinese ink. The exhibition at Columbia University was in April 1978, Carlos was 25 years old and it was his first solo exhibition in New York; the 100 drawings that formed this exhibition attracted much attention for their creativity, as mentioned in the Panorama newspaper of Maracaibo. Carlos had as a collaborator Nelson Bocaranda Sardi, a journalist who lived in New York at that time and who helped him a lot to promote himself and achieve his goals.
Carlos is dedicated to artistic research and practices new painting techniques. He looks for new ways, purifying his drawing with a continuous line to make it more fluid, interlacing images and creating perspective in a delimited space. From then on Carlos manages to make his drawings “in a single stroke.”
The painter stayed in New York until 1980, where in addition to painting and exhibiting he set out to complete his studies at the Graphic Research Workshops in Manhattan. In addition to exhibiting at the University of Ockland (California), he managed to do also at the University of Columbia (Manhattan). Leaving this record of his passage through the United States.
Carlos Acosta at the Museum of Modern Art in New York
Document of the Embassy of the United States
Fragment of the work of Carlos Acosta in homage to the victims of the 9/11 attacks
OPEN LETTER OF CARLOS ACOSTA ADDRESSED TO THE AMBASSADOR OF THE UNITED STATES
CATALOGS WHERE THE NAME OF THE PAINTER CARLOS ACOSTA FIGURES
“Allegory to World Peace” by Carlos Acosta, located at the United States Embassy
International Exhibition of Carlos Acosta
Carlos called from Venezuela the Ambassador of Venezuela in Italy to specify the delivery of his painting “Genio inquieto … Bolívar” in that embassy, taking advantage of the technical scale that made his plane from Madrid to Caracas.
Carlos Acosta enrolled in 1998 at the Greci-Marino Art Academy to perfect his artistic knowledge. Carlos Roma smelled of art, he walked breathing his story and came to mind the names of artists who he admired as Leonardo da Vinci and saw in each woman the face of the Mona Lisa. The whole city seemed like a beautiful painting, with unusual beauty and the rays of the sun vibrating on the ruins of millenary stone, from which infinite tonalities arose. In 1995, Carlos called the Ambassador of Venezuela in Italy from Madrid to arrange with him the delivery of his painting: “Restless genius … Bolívar” in the Embassy of Rome, taking advantage of the technical scale that his plane would make in the city, when traveling from Madrid to Caracas that year.
Jose Maria Azcárate had drawings of Carlos that perished him so good that he sent a letter of introduction some of them to the Academy of Arts and Crafts of Spain in Italy, of which Mr. Azcárate was a member; in said Academy they accepted them to keep them in deposit in their funds. This is how Carlos’s first contact with Italy would begin, where he would enroll on July 1, 1998 at the International Greci-Marino Academy of Vinzaglio, Academia del Verbano. Carlos admired Roman Renaissance artists such as Michelangelo, Leonardo da Vinci, Boticelli, Modigliani, Tintoreto, Raphael or Georgio de Kiriko.
In 1996, Carlos Acosta exhibited at the Juana Mordó Gallery in Madrid his Tribute to the Italian painter Mantegna, one of the Italian painters that Carlos admired a lot.
Carlos did the studies of the Greci-Marino Academy from Madrid, they sent him the texts by post and Carlos studied them, getting to pass all the exams for a year, until he got the diploma. Carlos was also named Caballero del Arte.
The Venice Biennale coincides with a painting that Carlos delivered at the EMBASSY OF Venezuela in Italy.
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TWO ZULIAN PAINTERS TO THE VENICE BIENNIAL
This was the headline of the newspaper Panorama about the event in Rome. It so happened that in 1979 Carlos was there completing his studies at the Greci-Marino Art Academy. The CONAC (National Institute of Culture of Caracas) had appointed Régulo Pérez, who was his professor at the Central University of Caracas, to participate in the exhibition of the Venice Biennale, and as there was enough space in the exhibition hall, the Embassy of Venezuela told Carlos that he could also participate. So in the end it was both of them, as representatives of Venezuela. Carlos only had to take a flight from Rome to Venice and meet there with Régulo Pérez. Carlos brought a selection of his paintings that included a collection of works exhibited in Caracas during the last ten years of his production; He also had to paint directly, along with Régulo, a large mural on one of the walls of the room where the exhibition was held. Of course Regulo and Carlos were very successful and the event made them known as painters throughout Italy.
Carlos stops in Caracas, before returning to New York, to leave prepared procedures, since between 1979 and 1980 a sample of his works will remain in the Exhibition of the Parliamentary Fractions Headquarters of the National Congress of Caracas entitled: “Expressions graphics of the new generation “. The exhibition at the National Congress of Caracas was held on February 2, 1980, the date on which the Day of Youth in Venezuela is commemorated. The congress building is an impressive black marble construction that sits on the corner of Pajaritos. The exhibition hall had more than 800 square meters. There was a lot of security, before everyone entered, even Carlos Acosta himself, he had to identify himself and carry a card to access the interior of the premises. The exhibition was a retrospective exhibition consisting of 80 works painted by Carlos Acosta from 1966 to 1980, works that were already part of public or private collections, which involved an intense work of compilation and multiple efforts to be carried out, but everything could finally agreed and the paintings were transferred by plane, from Maracaibo to Caracas.
Its passage through Venezuela in 1980 will be reflected in the newspaper Panorama:
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CLAUSURO PAINTER ZULIANO EXPOSITION IN CARACAS
“A sample containing 80 works by the young Zulia painter Carlos Acosta, was recently closed in the exhibition hall of the National Congress.
Many people had the opportunity to admire once again the works of Acosta, which without a doubt, is emerging as one of the promises of modernist painting in our country. His works have been favorably commented by prominent critics, among them Juan Calzadilla, Perán Ermini or Luis Guevara Moreno.
The exhibition was inaugurated by the Minister of the Secretariat of the Presidency of the Republic, Dr. Gonzalo García Bustillos. The President of the National Congress, Dr. Godofredo González, was present, as well as deputies and senators belonging to various currents. Also present were various painters, including Régulo Pérez, Oswaldo Vigas and Gabriel Bracho. The possibility that Carlos Acosta is one of the Venezuelan representatives at the Venice Biennale is not ruled out, as reported by Régulo Pérez, who opined on Acosta’s work and in that sense said that it was of great importance, both in the study as in the planning process of the tables.
The exhibition was called “Graphic Expressions of the painter Carlos Acosta”. Which defines his work as a study of the line and the composition masses, expressing the volume through the line. Most of the paintings are made up of faces in different positions and expressions.
The painting titled “Gigantes y cabezudos”, which was produced in New York in 1978, was powerfully attracted to visitors. This painting was exhibited at the Columbia University in Manhattan, in an individual exhibition, it is made with four panels joined together and a mixed technique was used. This work rests in the editorial headquarters of the Panorama newspaper in the Capital of the Republic.
The next exhibition of Carlos Acosta will be at the Zuliano Institute of Culture in Maracaibo, next October, in which art lovers will have the opportunity once again to appreciate the technique used in these works. A collection of 40 drawings of various formats will be presented. “
Signed: ALEXIS BLANCO
On June 28, 1978, Carlos received a letter from the Centro de Bellas Artes Ateneo de Maracaibo in which Pilar Mac Millan, coordinator of Plastic Arts, invited him to exhibit at the center, including him in the calendar he was preparing for the year 1979:
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“Dear Mr. Acosta:
Through Mr. Oscar d’Empaire, I have learned of his desire to exhibit at the Center of Fine Arts of Maracaibo in March 1979. For us it would be very interesting that this show was carried out, and I believe that the best date would be the first half of March.
The conditions of the Center are sent to you in the attached note so that you study them and communicate your agreement or disagreement. As for the works, I would like to know what kind of painting it is, size and quantity, to see what room we could give it based on that.
Thank you very much for an answer as soon as possible, since I would have to include it in the calendar of exhibitions that we are already preparing for the year 1979. Without another particular and waiting for your prompt response, it remains of you. Sincerely “
Signed: Pilar Mac Millan Plastic Arts Coordinator
In mid-1979 Carlos made a flight to Caracas from New York, to exhibit at the Ateneo Fine Arts Center of Maracaibo, where his friend Oscar d’Empaire was waiting for him; On this occasion it was an individual exhibition entitled: “The line as an element of expression”. Carlos makes this exhibition in homage to President Campins; in the sample they appeared more than 50 pictures that occupy all the rooms of the center, with the peculiarity of being composed of drawings of a single stroke. On this trip, he meets the poet and director of the Municipal Museum of Graphic Arts of Maracaibo, Enrique Romero, to whom he leaves some of the paintings that he has just exhibited in the Fine Arts Center and that now belong to the collection of the Museum.
Article of May 5, 1979 of Panorama, before the inauguration:
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EXHIBITION OF 53 DRAWINGS OF CARLOS ACOSTA
A tribute to the President of the Republic, doctor Luis Herrera Campins, will be held tomorrow at the Bellas Artes theater.
It is organized by Oscar d’Empaire, President of the Teatro de Bellas Artes Foundation and Carlos Acosta, General Secretary of the National Organization Encouraging Art in Venezuela (EVA).
With this act you want to highlight the work of the National President and thus collaborate in a direct way with your government program. In the same will be present Alí Moncayo, President of the Legislative Assembly of Zulia, the Minister of Culture, Dr. Guillermo Yepes Boscán and the Governor Gilberto Urdaneta Besson.
The tribute consists of a large exhibition of 53 drawings, all made by the artist Carlos Acosta, which is considered by national critics as one of the most brilliant figures in the art of drawing and has been awarded both in our country and abroad.
The exhibition will be held at the two floors of the Fine Arts Center, from tomorrow until the 18th of this month, between 10 in the morning and 2 in the afternoon.
The act of tomorrow will count as sponsors with the assistance of Oscar d’Empaire, President of the Theater of Fine Arts Foundation, Roberto Baittiner, General Director of PANORAMA and César David Rincón, Director of Culture of the University of Zulia.
In the same will be delivered to the representative of the First National Magistrate, a large portrait of the liberator Simón Bolívar, which is part of a large exhibition of portraits of the Father of the Nation.
In 1979 Carlos meets the poet Zuliano Enrique Romero, who in turn is director of the Municipal Museum of Graphic Arts of Maracaibo. Precisely Carlos donated some paintings he had presented in this exhibition of “The line as an element of expression” of the Center for Fine Arts of Maracaibo and now belong to the collection of the museum.
Holder of the May 7 article that featured on the cover of the Panorama Newspaper:
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MINISTER OF CULTURE PRESIDIO OPENING OF THE EXHIBITION IN CENTRO FINE ARTS
The Minister of State for Culture, Dr. Guillermo Yepez Boscán, who sponsored the event, attended yesterday on behalf of President Herrera, the exhibition of the painter Carlos Acosta opened at the Center for Fine Arts.
The sample consists of 40 large-format works of mixed media, using various materials on canvas and 13 smaller drawings in Indian ink, which project themes of a social nature, in which the painter worked for two years.
This exhibition is the only one that was inaugurated yesterday in homage to the President of the Republic Campins and it was the biggest pictorial event in the city. In other galleries such as the Visual Arts Workshop of LUZ, the exhibitions continued from the previous Sunday.
The Minister of State for Culture expressed his pleasure to attend on behalf of the First National Magistrate, to the opening of this exhibition and to receive a painting that the painter Carlos Acosta has given to the President.
This sample reveals to my judgment – said the Minister of Culture – the creative and artistic potential of Venezuelan youth in the interior of the country. That is why we have announced the urgent need to regionalize the province and action of culture. I also want to thank publicly on behalf of President Herrera Campins, the gesture of Carlos Acosta to dedicate this exhibition.
The painter is native of Maracaibo and said that this individual exhibition is the first one that opens this year and he has been highly pleased to dedicate it to President Luis Herrera Campins, because he has great projects to develop in the field of culture, which will stimulate all the young people of the country, especially the province. This exhibition DRAWING OF CARLOS ACOSTA, entitled: “The line as an element of expression”, will remain open until next May 20.
The painter Carlos Acosta says that he is identified with the figurative tendency and about his drawings, the art critic Perán Herminy affirms that “Carlos Acosta’s drawings are populated with superimposed images, which are achieved with big firm strokes, which are studied with great dedication, for the achievement of great effects in said images. The composition is for Acosta his great concern, that with the passing years, he will study more the graphics, which includes an analysis of the study of shapes and strokes in general.
OBSEQUIO A PANORAMA
The painter also had the courtesy of donating one of his works to the PANORAMA newspaper and it was received on behalf of this company Mario Montero Faria, Head of Public Relations.
The exhibition, the same as yesterday, recorded the attendance of numerous public, especially of personalities linked to cultural activities, among them, Dr. Sergio Santillano, director of the University of Zulia, the Governor of the State, Engineer Guillermo Urdaneta Besson and the President of the Center for Fine Arts of Maracaibo, D. Oscqar d’Empaire.
Signed: ALEXIS BLANCO
After his first exhibition in New York, Carlos is interviewed by the Panorama newspaper of Maracaibo, on one of his trips to Caracas lightning. While they are interviewing him, Carlos makes them a drawing of a single stroke, a curious situation that in the article they describe as follows:
“As his words flow giving us to know his work, to that extent, the interviewee, with great precision and strength, is sliding through a white card, a series of lines or straight lines, circular, zigzag or forming small dark spots, that go configuring figures. The firm lines are transformed into women’s faces, flying pigeons, vegetable forms, nudes or fish, which emerge from each other. “
Carlos explains that to draw without raising your hand you have to have a lot of practice, which is not easy to compose drawings like that, with so much content. He is convinced that drawing is the basis of painting. His drawings are surprising.
GRAPHICAL EXPRESSIONS OF THE NEW GENERATION.
Carlos remembers that the components of the New Generation movement were young enthusiasts of his art, who helped him organize the exhibition and ran with all the expenses. The work of the journalists José Semprún and Alexis Blanco of the Panorama newspaper of Maracaibo, and of the journalist Antonio Mancera of the newspaper El Mundo, belonging to the Capriles Group, was also very important.
The commentary of the Director of the exhibition was: “The Venezuelan painter Carlos Acosta, whose prestige in style transcends borders, intends with this new exhibition to promote national art, and encourage young people to care for the graphic expression, as part integral to our development process.”
Also in those dates he makes a drawing for the cover of the Impacto Cultural supplement, edited by the Diario Ultimas Noticias de Maracaibo.
Carlos meets the painter Gabriel Bracho in Caracas, a Zulian painter born in La Cañada, near the oil fields. His paintings were heroic, with scenes of war and decorated the rooms of the Miraflores Palace when he was president Carlos Andrés Pérez. Gabriel liked Carlos Acosta’s paintings very much because they were similar to his style. He described Acosta’s drawings as “dapper” in a criticism, saying that Carlos possessed an incalculable expressive force and had before him a beautiful artistic spectrum, whose perspectives They seemed bright to him.
In number 70 of the magazine Arte Quincenal de Caracas, in the section La Trampa, the director and art critic Teodoro Pérez Peralta publishes in 1978 the following article:
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“The young Zulia painter Carlos Acosta, after a pictorial tour through the United States of America, where he presented his drawings in several university centers, currently exhibits 45 drawings in Indian ink at the Atelier de Pintores Gallery, located on Avenida Jalisco with Orinoco , The Mercedes. Acosta is passionate about drawing and has always had a continuous work, ranging from figuration to informal approaches, including the tachista way. His first drawings were shown in the decade of the 70s, in the Six Against the Rosca Collective, integrated by the artists Angel Peña, Francisco Hung, Hugo Sanchez Avila, Pedro Piña, Carmelo Niño and Ender Cepeda.
The freedom that he accuses in his works is remarkable, due to the predominant experimental nature. Part of a preconceived idea, interested in the study of the line, approaching a passion tachista (means that it uses many techniques). For his next exhibition, in the Sala de Bellas Artes de Maracaibo, he will present murals on canvas, composed in several panels. The image is based on natural elements: vegetables, animals and minerals. This exhibition will be sponsored by the famous collector Oscar d’Empaire. Carlos Acosta has exhibited individually at the Society of Fine Arts in Rio de Janeiro; in Maracaibo, in the Fine Arts Center, in the Municipal Council, in the Zuliano Institute of Culture and in the Leggio Gallery. Among the mentions obtained we highlight the following: Prize of the Hall of New Values and University of Zulia Award.
Already back to New York, Carlos frequently visits the New York Public Library, on Fifth Avenue, which seemed like a fascinating place and of which he keeps a pleasant memory and thank-you document signed by the director Roberta Waddel in the year 2000 , since Carlos left him his dossier so that he could take copies and keep them there. In another communication from Anne V. Barbaro, in 2002, they sent her in thanks the book: “American Visions” written by Robert Hughes and they also gave him a pin of the American flag.
After his stay at the Stanford Hotel, Carlos would spend a few months at the home of Gerac, the brother of his friend Luc B. Innocent. So in late 1979 Carlos crossed the Manhattan bridge that separated him from the city to find his address in Brooklyn. Luc had given him his brother’s phone number, telling him that if he ran out of money, he could stay at home, but what he did not tell him was that Gerac spoke only French and English, so his sister’s husband, who also They lived there and spoke Spanish perfectly, he did all the time of a translator so that they could understand each other. Carlos stayed at home for several months, during which time Gerac provided him with the Social Security Card and sought work from him at a plastic packaging factory in Brooklyn where Carlos had a 12-hour shift, from six in the morning to six in the morning. the afternoon or from six in the afternoon to six in the morning, so he had no time for anything other than resting between shifts and shifts. When Carlos collected enough money for the trip, he returned to Venezuela, but it would not be for long …
In the spring of the year 1980, with 26 years, Carlos Acosta takes a flight to Paris from Maracaibo. Arrives at the city at the right time, in full “Belle époque”, with an effervescent bustle of artists at all hours through the streets, which expose with total freedom of expression in the numerous art galleries that stand out throughout the city as references cultural, thus creating an artistic movement similar to the Renaissance in Florence.
Paris in those years was the epicenter of the world, a creative city in full cultural heyday; new talents emerged and they all overflowed the art galleries, where entire Paris was going to enthusiastically contemplate the new pictorial tendencies; among these painters were names like Monet, Renoir or Cézanne; and there was Carlos Acosta, enjoying that “impressionist” environment, unique in order to fully develop his pictorial technique. The Impressionists represented an enormous liberating force, from which all the adventure of modern art has been possible. They were years of optimism and great changes, especially in the mentality.
Carlos met Gaston Dhiel at the Venezuelan Embassy in Paris and presented his projects, since that day Gaston would be his great benefactor. Curiously Carlos and he appear in the General Dictionary of Zulia. Gaston Dhiel was born in Paris in 1912 and died at 87 (1999). He wrote books about important painters such as: Picasso, Miró or Modigliani. He was also a film director, journalist, professor and art professor at the Central University of Venezuela, an art critic, best known for his great work as cultural attaché of the Venezuelan Embassy in France. He died in 1999. He was a man whom Carlos greatly admired for considering him a great intellectual, a cultured man, brilliant and enlightened, with great charisma and extreme sensitivity. Creator of the Movement of Friends of Art, he helped many painters to exhibit at the Louvre Museum, including Delacroix and Matisse, of whom he had works in his house. He was also president of the Museum of Latin America in Paris and helped Latin American artists in the Casa Latinoamericana de Monte Carlo. The Venezuelan government appointed him Cultural Attaché of the Embassy of Venezuela in France, for his exemplary cooperation. From that position, Mr. Dhiel promoted and defended both Venezuelan and Latin American artists and, of course, also French artists.
Gaston Dhiel was the one who introduced Carlos Acosta so that he could exhibit his paintings in the Pompidou Museum or in the Maison d’Amerique Latin; also thanks to him he appeared in the newspaper Le Figaro. Carlos says that thanks to him his pictorial work was awarded at the Salon Blesois des Beaux-Arts and introduced in the modern art museums of France, mainly in Paris. Gaston Dhiel organized an exhibition of South American and French painters on February 10, 1982, in which Carlos participated. This exhibition was held in the Salons of the Venezuelan Embassy in Caracas, specifically in the rooms that Gaston Dhiel directed, that of the Cristóbal Rojas Gallery and that of the Arturo Michelena Gallery, named in honor of these two Venezuelan painters of the S. In those rooms, Carlos met the painter Osbaldo Vigas in 1981; it is a pity that these rooms no longer exist today. This exhibition was called: “Le Dessin” and Carlos took a flight in February from Paris to Venezuela to participate in it.
Carlos Acosta will participate in the L’ecole de Beaux Arts workshops in Paris during the 1980-1981 academic year, thanks to the intervention of Gaston Dhiel.
DOCUMENTS OF GASTON DHIEL AND FERNANDO PAREDES BELLO
Carlos stays as soon as he arrives at the Hotel Rivoli, on the Rue Rivoli in Paris, a hotel run by a Muslim family with two children and a grandfather, who welcome him with a lot of love, so they made him feel very good during his stay . Remember that the boy went to his room to see him paint and Carlos explained what he was doing so that he learned how to use brushes and paints.
The painter will spend many sleepless nights painting, putting all his attention and all his energy into it, since his head was a torrent of images that needed to be reflected on the canvas with urgency, remember how his fingers were agile, at a dizzying pace handling the brushes, without worrying about the time it was, time spent “passe vite” before his eyes until dawn, which was when he stopped to rest.
Carlos meets at the Venezuelan Embassy in Paris the painter Osbaldo Vigas, who was preparing an exhibition of his in the Salas Arturo Michelena and Cristóbal Rojas. When he sees Osbaldo assembling his lithographs, Carlos suggests that he change some of the place and at the end, he ends up mounting the whole exhibition, leaving Osbaldo very satisfied with the result. His paintings represented scenes with characters of his creation that he called “witches”, blurred between bright colors.
Between trips and exhibitions, Carlos will develop in Paris a multitude of pictorial styles, which will alternate throughout his artistic career, from cubism to mixed media.
Carlos maintains his concerns to continue exhibiting in his country of origin and will travel there to do it multiple times during his stay in Paris.
In 1981 Carlos already has his own studio in an attic located at number 211 Boulevard Sant Germain, a space with lots of light, ideal for painting his paintings, near a bridge that crossed the river Seine; from where the painter can see the Eiffel Tower from his window. It will be there where he prepares his exhibition at the Maison de l’Amerique Latine titled: “The soul of blue”, composed of works of great beauty in blue tones.
That year of 1981 Carlos attended as a guest artist at the receptions of the Embassy of Venezuela in France, precisely, in one of those parties Gaston Dhiel facilitates the direction of the workshop of the Zulian painter Magda Andrade, so that he could see her. She was a figurative painter who filled her paintings with the faces of women in blue tones and with her eyes closed, her works drew a lot of attention in the art circles of Paris. Carlos was showing him his paintings and Magda bought him some and put him in touch with Patricia Gómez, niece of the Venezuelan leader Juan Vicente Gómez, who also bought her some of his works, and that way he could survive in Paris.
Also there that same year, at a party of the Embassy of Venezuela in France, he will meet the Venezuelan writer Arturo Uslar Pietri, a researcher of history who wrote books such as “Lanzas coloradas” or “Las valores humanos”, inspired by the history of the Latin American countries. Arturo Uslar Pietri sought the presidency of Venezuela, in the style of other famous writers such as Rómulo Gallego, author of “Doña Bárbara” or Andrés Eloy Blanco, author of “Los angelitos negros”.
On Boulevard Sant Germain, the street where Carlos lived, there were musicians and artists performing on the street, it was like an outdoor stage; Carlos took advantage of his free time to get closer to the Montmartre neighborhood, better known as the painters’ quarter, a place that fascinated him, without a doubt the most bohemian neighborhood of Paris and the one that to Carlos seems to have retained the authentic Parisian spirit. Montmartre has two well-defined areas, one in the vicinity of Pigalle Square, where Carlos immersed himself in a network of small, steep alleys, which at night illuminated the neon lights with signs of cabarets such as the Moulin Rouge or the place where he sang Edith Piaf. From there Carlos ventured through streets full of restaurants with terraces and kiosks full of tourists, and through them you would reach the Plaza de Tertre, the second area of the Montmartre district, the famous square where all the painters gather; Carlos always found it full of stalls with an immense amount of pictures, some hanging from the awnings of the roof, others placed in easels; paintings that surrounded the painters, until almost hiding them, painters foreign to the bustle of the passing people, while they were in full creation of their work.
To access the Sacre Coeur Basilica, Carlos had to climb almost 200 steps, since it is located on the highest part of the hill, those stairs were always occupied by a crowd of people, he sat there to contemplate the city, in a ritual to see sunset.
All this made Montmartre a wonderful place to stroll and recreate. When descending, from the Rue du Chevalier de la Barré, Carlos could appreciate a unique perspective of the Basilica, it is so close that it gives the impression that you could touch it with your hand. Those stairs were always occupied by a crowd of people, I sat there to contemplate the city. A ritual similar to sitting on the steps of the Retiro pond in Madrid to watch the sunset.
Carlos recalls that on sunny days, the white dome of the Basilica shined in a special way as it reflected the sunlight and became an extraordinary vision for him, as if it were also a luminous star. Something worth expressing with that “Oh la lá!” That from then on Carlos would remain as a habitual expression in his speech.
A curious fact is that at the exit of the Abesses metro, you can see a wall with words, it is the wall of “Je T’aime Paris” or the Wall of Love, where it is written in white letters on a navy blue background. phrase “I love you” in all the languages of the world.
Carlos also took advantage of his stay in Paris to visit the Rodin Museum, in the area of Les Invalides; Above all, he liked the gardens, where statues of the sculptor are on display, such as El Pensador, a figure that invites reflection. Carlos is totally identified with this figure, because he believes that we must take advantage of our reasoning ability to avoid making mistakes or, at least make as few mistakes as possible and, in case of mistakes, analyze why this happened to us, to avoid going back to commit in the same mistake. That has been for him a maxim in his life, learn from mistakes and experiences, to always get something positive.
On other occasions, Carlos traveled on foot the two kilometers of the Champs Elysées, from the end where the Arc de Triomf is very small and as you go it increases in size, until the other end where you find the Plaza de la Concordia , and very close to it, the famous Louvre Museum, his favorite place, where he would spend hours contemplating his paintings. He also attends cultural events, such as an art conference where he was at the Petit Palais in Paris, where he meets the writer Carlos Fuentes, Nobel Prize for Literature for his novel “Terra Nostra”. Carlos liked the way Carlos Fuentes spoke in French, pronouncing it with a Hispanic accent; until then it had been very difficult for him to speak in French, but from that day on, he realized that he did not have to speak the French of the French, which was closed and thick, but that he could speak it like that writer, much easier to understand and pronounce, and on the other hand, clearly accepted by the country. It was not the Frenchman who years later the Arabs would try to ridicule (for example saying Monsieur-Dame instead of Madame-Monsieur) and pronounced badly on purpose, but a Frenchman who seemed academic and respectful to Carlos.
Then Carlos remembered a phrase that the painter Félix Rogette told him when he arrived in Paris: “Any Frenchman is a teacher of the French language. Never try to speak French like a French native, because they are born with their phonetics, something that other outsiders do not have “.
In 1981 Carlos Acosta also participates in the collective exhibition of South American and French painters on the “Human Rights of Man”. Sponsored by the Societe du Salon D’Automne. The exhibition was made at the Grand Palais de Champs Elysées in Paris and Carlos presented an oil painting entitled “Figuras en movimiento”.
Carlos was approaching the Consulate of Spain in France, a building located on the Rue du Mauvaises Herbes. I went there to ask for a visa to enter Spain. There he would meet the Spanish consul, of whom he only remembers that he was very nice and was called Toledo. Remember that at the entrance, the Spanish Civil Guard welcomed him in a very cordial way and he liked to speak with them in Spanish. Carlos made a few quick trips to Spain to familiarize himself with the country and sometimes simply went to the Consulate to greet the consul who said: “You are going to stay in Spain, because you have come several times to apply for a visa and it shows who loves that country very much. ” Carlos remembers that in those years in Spain the Autonomous Communities were being formed. In 1982 Madrid was not yet, since it was the last Autonomous Community that was formed during the government of Adolfo Suárez.
That year 1981 Carlos Acosta will travel to Brussels to renew his passport at the Consulate of Venezuela in Amsterdan, in order to be able to enter his country. There he took the opportunity to visit the Rijksmuseum, to study the work “Ronda Nocturna” by Rembrand and some of his favorite paintings by Van Gogh.
Carlos exhibits in Image 82, the first Visual Art Salon Chateau de Bizy (Vernon) and the City Hall (Le Mairie) in Paris. There was another exhibition in 1982 in which Carlos Acosta participated called “La Fete de Mass”, which was inaugurated by President François Mitterrand and in which works by young painters from Latin America and the Caribbean were contemplated. Carlos keeps a review of one of his paintings by Alfredo Terremurci.
DOCUMENT OF ALFREDO TERREMURCI
In 1982 Carlos Acosta obtained the II Prize of the Culture “Prix Royal”, granted by the Hall Blesois des Beaux-Art. This award was granted for the canvas he exhibited at the Chateau Royal de Blois entitled: “Figura en movimiento”; said prize consisted of a diploma and a bronze medal.
Carlos thinks that this award was obtained thanks to the collaboration of Gaston Dhiel, who helped him at all times to introduce his work in the modern art museums of France, mainly in Paris. After receiving this award and living for two years in the Parisian city, Carlos thinks that his work in Paris is already complete and he thinks that he will soon return to Spain.
In 1981, for the XXIX Anniversary of the Autonomous Institute of the Armed Forces Circle of Caracas, Carlos prepares a work sent from Paris to General Fernando Paredes Bello. In an act of the Venezuelan Embassy in France, Carlos Acosta meets Admiral Enrique Rodríguez Varela, who at that time was the cultural attaché of the Venezuelan Embassy in Paris, although some years later he would be transferred to the Embassy in the United Kingdom of Venezuela , as aerial and naval aggregate. Enrique Rodríguez Varela was a cultured man, defender and lover of the arts and of painting. Carlos went to visit him several times to London, traveling by plane from Paris, to take pictures that he ordered.
DIPLOMAS, DAILY LE FIGARO, DOCUMENTS AND PHOTOS: EVERYTHING IS IN THE PARIS FOLDER
On one of those occasions when Carlos traveled to London, when he did not know the time difference, he arrived an hour later to London, when the Embassy was already closed; It was a cold Friday of the month of February. Then Carlos began to walk with the rolls of the 2-by-3 paintings through the streets, without knowing what to do, until he arrived at the National Library in London and took refuge inside (before the London library did not close by the nights). He asked the head of the Library for the book section in Spanish and when he was about to read “One Hundred Years of Solitude” by Gabriel García Márquez, with the intention of spending the night there, a question came to his head: What tomorrow? Then he realized that he could not spend the night there because the next day he would have to do the same again, since the embassy would remain closed until Monday and it would be too many days without sleep. At nine o’clock at night he left the library to look for a hotel, and in the first one he found the need to stay there three nights, he identified himself and explained that he had the plane ticket back to Paris that night but that he could not return without first delivering the paintings to the embassy and that, as soon as he did, he could be sure that he would pay them the total amount for his stay. Somehow they understood him and allowed him to sleep there over the weekend, they told him there was no problem and they immediately gave him the key to his room. The stay included breakfast and the weekend was spent in a pleasant way. On Monday at 8:30 in the morning, from the reception of the hotel, he called Admiral Varela who said: “I’m waiting for you since Friday, what happened?”, To which Carlos had to tell him about his little adventure . Of course Carlos would go back to the hotel to pay his debt and thank the manager for his kindness with his person. In those days the hotels trusted people, now it is unthinkable that something like this happens. Precisely one of the paintings of Carlos that Admiral Varela acquired, “Bolívar’s genius”, was donated to the Ministry of Defense at the request of the Venezuelan organization “Estímulo del arte”, chaired by Dr. Rafael Saavedra.
After the exhibition, Carlos had a return ticket to Paris, but he changed it into Air France for a round-trip Paris-Barcelona / Barcelona-Paris ticket.
Carlos was in Barcelona for a week; He stayed at a hotel in La Rambla, near the port. He found a city with an intense intellectual movement, in full transformation, with the Catalan culture wishing to break through the Spanish culture, which dominated. Remember that the El Prat airport was much smaller than now and the Picasso Museum had the interior galleries with the rustic stone walls, the old and original ones of the mansion, which today have been clad and have lost all their charm and essence; on these stone walls hung the paintings of the artist that Charles admired so much. The distribution of the exhibition halls was totally different, but it was less illuminated than at present. The city was full of tourists because it was summer and Carlos was overwhelmed by queuing, but in general terms it gave him a very good impression and he decided to return in the future.
On December 31, 1982 at 9:00 pm, Carlos takes a flight from Charles de Gaulle airport in Paris to Madrid Barajas airport, which will arrive at 23:30. Since he had a room reserved in a hostel in C / Espoz y Mina, he took a taxi that left him on the Gran Vía and from there he walked to Sol, with the surprise that he found a crowd of people celebrating the entrance of the 1983, something that I had never witnessed live and direct; amidst such hubbub I could not find the street or the hostel and asked a family for the place, a young couple with two children who had the kindness to accompany him to the same door where he was going to stay, which Carlos thanked them with great courtesy. As he was exhausted from the trip, he rested all day January 1; On January 2, he went straight to the Prado Museum, eager to contemplate the paintings of Goya and Velázquez, and spent the entire morning and part of the afternoon there.
The rest of the days, until Reyes, began to settle in Madrid, looking for art galleries and making contacts to expose.
Carlos was 30 years old but still filled with a torrent of energy that impelled him to continue painting and exhibiting, in his unstoppable walk; You will get to know every building and every street in Madrid like the back of your hand, as he liked to walk everywhere to discover all the beauty that the city contained. Carlos settles in Madrid, where he dedicates himself to intense work, painting paintings and organizing countless exhibitions.
In the year 1984 Carlos Acosta met the son of the actor Fernando Fernán Gómez, who was called just like his father, and his mother, the singer María Dolores Pradera, with whom he had a good friendship. Fernando Jr. was the Director of Arteguía magazine and he also had an editorial of art books. He accepted that Carlos was part of the First Directory of Art in Spain, which would be published in 1985. In that dictionary appears the name of Carlos Acosta next to his painting: “Van Gogh’s imaginary portrait”, Carlos’ work that María Dolores Pradera chose personally and that occupies a whole page of the book. After Fernando son would publish another dictionary of painters in 1986, which would also include Carlos with his painting: “What do you think and for what?”; In 1987, another dictionary of Spanish painters was published, containing the work of Carlos Acosta: “Homenaje a Picasso” (Charles’s version of the Spanish Civil War). In 1984, Carlos visited the Sorolla Museum, a painter he admired. much, who liked his loose and spontaneous brushstroke and the tropical light of his paintings and that also reminds him of the Venezuelan painters Tito Salas and Armando Reverón. Carlos met the Director of the Sorolla Museum, D. Florencio de Santa Ana and Alvarez-Ossorio, to whom he asked permission to do an investigation on the work of Sorolla. The museum was different than it is now, with another distribution of the paintings in the rooms and the much more colorful and leafy garden, as can be seen in one of the works.
Carlos spent more than 2 years studying the work of Joaquín Sorolla and on numerous occasions, he made guided tours of the museum, where it was very common to find him at any time of day giving explanations to a group of tourists.
In 1985, after getting his work “Version on Goya” in the Museum of the Royal Academy of San Fernando, Carlos Acosta was nominated for the Goya painting awards, but was a finalist.
In 1986 Carlos applied for a permit to work at the Museo del Prado as a copyist, but in reality he did interpret the paintings and create his own versions of each painting, something that had not been allowed before, but the Director of the D. Felipe Vicente Garín Museum LLombart liked the result so much that it allowed him to do it. This critic of Valencian art, of affable character, in a conversation told Carlos that he preferred to deal with dead painters, because the living were very demanding. Carlos made versions of paintings by Goya, in his time of black paintings and also some paintings by Rembrant, introducing, as we have already mentioned, personal touches. He dedicated himself to it for more than a year. One of those paintings was acquired by the director of the Lázaro Galdiano Foundation, the rest were part of the exhibition that Carlos made at the UNESCO headquarters in 1987. This collection of surrealist paintings would later serve him to settle a debt he contracted with the BBVA bank; said bank assessed the tables and accepted them as payment of the amount owed.
1985 is the year in which Carlos sent to the Kunsthalle Museum in Bonn (Germany) his work “Reflections for Peace”, a picture about the Civil War that nobody accepted in Spain, given its connotations; In this picture that Carlos made together with a Spanish historian, it is reflected the suffering, the bombings, the death and the political prisoners. It is a mural composed of 8 panels that, joined together, have the dimensions of 3 meters high by 2 meters wide. After which Carlos will travel to Berlin to visit the Hamburger Bahnhof Contemporary Museum.
TABLE REFLECTIONS FOR PEACE
Also in the year 1985, Carlos Acosta painted one of his works inside one of the towers of the Church of Santa Isabel and Santa Teresa, located very close to the metropolitan church of Madrid, a large oil painting titled: “For Peace “, In a quest to achieve brotherhood among the Spaniards confronted in the Civil War. In 1986, in that same church, Carlos Acosta made an individual exhibition of his works, which was widely visited and received very good reviews.
Carlos dedicated himself to caring for the sick at home between 1985 and 1992, after coming into contact with the Order of the Servants of Mary, founded by Santa María Soledad Torres Acosta when he was 61 years old, in order to help the sick they could not stay hospitalized. He met this organization through a Basque man who worked for her and who interceded to hire Carlos. Through Sister Rosario and Sr. Elena Carlos, she began her work attending chronic and terminal patients in their homes, both day and night. His schedule was intensive and he moved from one house to another, as the families were very satisfied with what he was doing and asked him more and more. This is how he began by washing them and giving them the medication, and ended up healing bedsores and doing the rehabilitation until he got them to get up and walk out to the street, totally recovered. For this he followed the instructions of the doctors to the letter and read books on nursing and physiotherapy. Carlos took care of men who had given their entire trip to raise Spain after the Civil War, people who he considered very valuable and worthy of admiration, to whom he tried to relieve the most of his ailments to prevent them from suffering. At the same time he kept them company, telling them about current events and, of course, about art and painting, since he took the time to continue organizing his exhibitions. On one occasion he moved his paintings to one of those homes, to mount an impromptu exhibition, with the intention of making them spend a different day, which they liked very much. Carlos remembers this experience with affection, because he felt very good doing it and developed a new professional facet that until then he had not imagined.
Carlos is a partner of Friends of Art and History, in whose place he also developed his facet as a researcher; The card of the National Library was also removed to be able to look for documentation on Spanish art in its archives. Carlos has donated to the National Library more than 800 drawings of his authorship, as well as writings on research techniques, philosophy essays and some poems. These works were received with great enthusiasm by the official in charge of the Goya Room, Mrs. Carmen Margallo, who thanked her a lot and considered it a very valuable material. Carlos dedicated himself to research in the National Library on the History of Art in Spain for years.
In 1981 Carlos met at the Venezuelan Embassy in Spain Rafael Saavedra, a retired Venezuelan lawyer, patron of art, cultured man to whom Carlos tells his project to pay tribute to Simón Bolívar on the occasion of the second centenary of his birth. Rafael, of Venezuelan spirit, was so admired by the idea, that he prepared for Carlos a meeting with the then mayor of Madrid, Mr. Enrique Tierno Galván.
In that interview, Rafael accompanied Carlos to present him in person. Once there, Carlos told the mayor his project to celebrate the bicentenary of the birth of Simón Bolívar with a painting he had painted to pay tribute to him. Carlos remembers from that meeting that Professor Tierno Galván received them very cordially in his office at 9:00 o’clock and was very flattered with the gift of the work, addressing Carlos to say, looking into his eyes, the following phrase : “You have done plastic surgery” -. Said statement was because Carlos showed the mayor his dossier, a book with a multitude of press articles, photographs, awards, official letters and catalogs of all the exhibitions he had done so far, from Venezuela to Brazil, through New York and Paris . Then the professor continued speaking very surprised by all the documentation that he had seen and by his long trajectory, in spite of how young he was and he said: “Right now I am going to give orders that this excellent portrait be exposed in the Hall of the XVII Century of this town hall “. Then they talked about Venezuelan characters that the mayor knew and appreciated, such as Carlos Canache Mata, after which they said goodbye cordially. Then the mayor organizes an event in the Plaza de la Villa, which is where the old town hall was located, in which Carlos delivered to Tierno Galván the portrait of the Liberator entitled “Bolívar, Constitución o Muerte”. Carlos has a photo of that act in which D. Enrique Tierno Galván gives him a pleased hand. Indeed, the mayor ordered that his painting remain exposed in the Hall of the XVII Century of the City of Madrid, where he was for 3 years, to be later transferred to the Municipal Museum, today History Museum.
PHOTO WITH TIERNO GALVAN
In 1985 Carlos had the opportunity to be received by D. Manuel Fraga Iribarne, at the headquarters of Alianza Popular in C / Genoa. In this interview with the founder of the party, Carlos told D. Manuel his intentions in Madrid and he remembers that Fraga told him: “You have come to save Spain with brushes”. That year Carlos collaborated in the last electoral campaign of D. Manuel Fraga and was fully involved in his cause, Carlos held him in high esteem as he fulfilled everything he said.
Precisely in 1985 Carlos Acosta created a Foundation called E.V.A. (Encouragement of Art in Venezuela), with the aim of promoting all artistic manifestations, both in Spain and in Latin America, appointing as President of the Consultative Committee of said Foundation Mr. Manuel Fraga, in consideration of his work in favor of the arts. In the act of his appointment, Carlos gave him an oil painting painted for the occasion, entitled “Path to the true democracy of Spain”, work inspired by the Spanish transition that D. Manuel had hung in his house in La Coruña. The newspaper YA was in charge of doing a report on the creation of E.V.A. In turn, Carlos gave the director of the newspaper, Francisco Muro de Iscar, a canvas titled: “The Spanish people”, with which he wanted to pay homage to the 50 years of YA’s existence, a newspaper that was always interested in the problems of Latin America.
Periodic Article YA
The art critic Carlos Arean, Councilor of Art of Popular Alliance, underlined the quality of the works delivered by the painter Carlos Acosta. Days later, Arean would call Carlos to invite him to his apartment, to Carlos he seemed a very cultured and disciplined man, his house was a place with books and paintings everywhere; Upon entering his study, Carlos saw a huge desk with two typewriters, surrounded by towers of papers and newspapers. Carlos Arean wrote for the monthly magazine Arteguía, in which he published some excellent articles talking about Carlos Acosta; in one of those articles Carlos Arean mentions Enrique La Fuente Ferrari, an art historian specialized in painting, Member of the Board of the Prado Museum, who would also write good articles about Carlos Acosta in the Diario Ultimas Noticias.
One morning Carlos Arean quoted Carlos Acosta at home to write an article about him and his painting. He asked Carlos to sit in front of his desk and began to write, his method was to observe and ask questions of the person while writing the article about her; and that’s how Carlos Arean interviewed him, so he managed to analyze him so thoroughly, that he expressed facets of Acosta’s personality that until then nobody had perceived, and wrote it in such an intense way, that Carlos felt when reading the article, as if Arean had done an X-ray of the soul. Unfortunately this singular critic of Galician art ended his days in a geriatric residence, trapped by the cloud of Alzheimer’s.
PUT HERE THE ARTICLES OF ARTEGUIA
In 1986 Fernando Fernán Gómez Jr. spoke with the director of the Hotel Miguel Angel in Madrid for Carlos to organize an exhibition there, this is how the painter made a retrospective exhibition of 20 Expressionist paintings painted between 1982 and 1986, among which was “Homage to Dante. ” That year Carlos also managed to organize an exhibition at the Casa de Zamora in Madrid.
On February 12, 1987 Carlos manages to introduce his work entitled: “Version on Goya” in the Museum of the Royal Academy of San Fernando. The painting was accepted by the director, Mr. José María Azcárate y Ristori, a person who would be key from that moment on in the artistic career of the painter. D. Jose Maria helped Carlos to introduce his work in the Municipal Museum and the National Library, also thanks to him he was able to organize an exhibition in the cultural headquarters of Caja Madrid in Ciudad Real.
1987 was also the year in which Carlos organizes an exhibition in Gallery 24 of Claudio Coello Street in Madrid that was very successful.
Carlos remembers that one day he found a very peculiar bookstore in C / Martín de los Heros, back in 1987, in the establishment they had books on astrology and futurology. Carlos at age 30, was very intrigued to know if he would succeed in his pictorial career and asked the clerk of the bookstore if he knew someone who was dedicated to making predictions, then who turned out to be the owner of the bookstore gave him the address from a clairvoyant who lived on C / Princesa, very close to where they were. Carlos went to see him that afternoon.
That’s how he met Diego, Marqués de Araciel, a mysterious man dressed in colorful shirts, a huge medallion and rings by all fingers of the hands with large red and green stones. His eyes had something supernatural and his green eyes were like a crystalline mirror in which Carlos was reflected. The Marquis would be around 70 years old; Carlos reminds him how a special man spoke to him with his slow and sweet voice, so that his company was very pleasant. He had a very nice detail, because he made a gift to Carlos for his birthday; Carlos made him a portrait that he had posted in his office. Carlos would return to his house on more occasions, because everything he said was happening to him. Later Carlos would find out that he was not a mere seer, he was also a doctor, writer, Counselor of the Naples Parthenopean Library, Vice President of the Crucible of Art Association, Delegate of the Institute of American Culture and a prominent member of the Rosicrucian Order ( esoteric group). Diego de Araciel used to see the future Tarot cards, which he called “The letters of life” and his crystal ball. In his house he received visits of high personalities of politics and the artistic world, characters that could be recognized in a multitude of dedicated photos that were throughout the room; Carlos could see a picture of Diego with Queen Isabel of England. Diego de Araciel died in 1999 and Carlos is sure that throughout his life he helped many people who, like him, needed a little hope.
In 1988, Carlos Acosta exhibited at the Velázquez Gallery in Valladolid an anthological sample of 50 expressionist oils, a summary of his 8-year work.
Carlos Acosta traveled to Maracaibo in 1990 to exhibit at the Fine Arts Center, where he had an effusive encounter with his father, a fact that was reflected in an article in the newspaper Panorama, written by Jorge Arturo Bracho. Carlos’ father said: “My son, after having finished his studies at the Julio Arriaga School, went to Caracas, where he made several exhibitions with great success. Later he left for Paris, with the intention of perfecting his studies; He stayed here for six years. Then he went to London to continue his apprenticeship. He currently resides in Spain, where he continues to produce his art. “
The father of the painter appears in a photo, proudly showing the works he keeps of his son; He was already ill with lung cancer and would die within a few months. That interview was the biggest acknowledgment that Carlos Acosta received from his father.
PUT AN ORIGINAL ARTICLE
Already back in Madrid, Carlos continues painting and preparing to make more exhibitions; In 1993, businessman Juan José Alonso commissioned a portrait of his daughter Conchita Alonso, a work that appeared in the newspaper El Punto de las Artes. This and other encounters made it easier for him to survive from his painting.
In 1991 Carlos obtained the Spanish nationality in 1991, something very important for him.
That year Carlos went to Antena 3 to see live the presentation of Raphael’s album “Ave Fénix”. The corridors were like a blue labyrinth and it cost him to get to the set where that program was going to be recorded. Along the way he met Jesus Hermida, who seemed to him a very eloquent man and they had a brief but intense conversation about the aspects that both had in common in the way of communicating, Hermida with the word drew scenes and Carlos with the brush painted them . Then he saw Teresa Campos coming, in a hurry, from what she perceived to be a simple person and very dedicated to her work. He came across Lorenzo Milá, who was on the way to writing the news, Carlos seemed an innovator of the way of reporting, with his resounding gestures and that shrewd way of capturing the attention of the viewer.
Then, still lost in the corridors, he greeted Nieves Herrero, who found him absolutely charming and with an impeccable presence. In his somewhat chaotic journey, Carlos could see how the recordings were carried out or the news was broadcast, which he found very interesting, when he discovered that world full of activity and the directors in full action, something that can not be appreciated when we only see the TV screen. As an anecdote, Carlos would be interviewed by Antena 3.
Thanks to Fernando Fernán Gómez Jr., Carlos participated in the IV International Biennial of Painting City of Arévalo (Avila), with his expressionist painting entitled: “Portrait of Van Gogh”, a work that after the exhibition would become the property of Fernando, who He hung it in his office office. This was his first experience in Avila.
Carlos arrived in a small village in Avila called El Hornillo in 1992, invited to the house of the Blázquez family; There he painted a painting and decided to donate it to the church, it was a large oil painting entitled: “Apparition of Christ”, a work that had to be previously accepted by the Art Commission of the Bishopric of Avila. Once the procedures were completed, the painting was exposed there. In 1995 Carlos returned to El Hornillo and visited the church, hoping to find his painting, but what would be his surprise when he found out that he was no longer there, and nobody explained his whereabouts. In the end he managed to convince the parish priest that his painting had been divided into parts and distributed among some of the villagers; for this authorization was requested to the bishop of Avila, who denied it, and despite this, the painting was cut into pieces and given to the people who wanted to have him in his house, people that Carlos supposed came to pay a large sum to the parish priest, that he did not want to disclose.
When Carlos Acosta began to be known as a result of his interviews with the newspaper YA, all journalists on Spanish radio and television called him to interview him. Then he met the announcer Miguel Hernán, related to the art world, who would interview Carlos on Radio España, where he had a program; The first question he asked was: What would Carlos Acosta think if he were an art critic of himself? To which Carlos replied that criticism was called any opinion opposed to criticized. Miguel Hernán would continue interviewing him when he went to work for Radio Intercontinental, Cadena SER, Onda Madrid, Radio Nacional de España and COPE, on the occasion of the exhibition tour organized by the Madrid City Council by all the Centers Cultural from 1999 to 2001. Many of these interviews are in the Department of Sound Recordings and the Audiovisual Department of the National Library of Spain.
In 1997 Carlos coincided with the Spanish actor Manuel Alexandre at the Gran Café, located on the Paseo de Recoletos, just in front of the National Library that the painter so often frequented. Both spoke about the origin of the lack of culture in Spain and coincided in most of their points of view. The actor told Carlos a phrase he has not forgotten: “The image of the people is the image of television.”
That year of 1997 Carlos travels to Maracaibo and something unforgettable happens to him, due to the bad time he spent. The painting he had displayed in the Basilica of La Chiquinquirá, supposedly had to be on the left side of the altar, but was no longer there; When he asked the pastor, he told him that they had taken it away because it did not fit with the rest of the decoration, without giving him further explanations. Then Carlos went to the press, to the Panorama Newspaper, to Ultimas Noticias, to the Critical Newspaper and even to the television, to denounce it. Then he went back to the Basilica and, walking around the corridors, found it, his painting was inside a chapel, a little hidden but visible; When he approached to see it better, a policeman appeared who stopped him, thinking that Carlos wanted to do something to the painting. When Carlos told the police that this painting had been painted by him, he ignored him and took him in handcuffs to the police station, accused of attacking the Zuliano Heritage. From there Carlos telephoned Oscar d’Empaire, who solved it immediately; the police apologized and took him by car to the center, where he could arrive in time to eat with his parents who were waiting for him.
Already back to Madrid, he continues painting to expose. In 1998, Carlos participates in the XIV Citation with Drawing in Lathe to Cristino Mallo, along with the painters Rafael Zabaleta and Antonio Tapies and in 1999 Carlos Acosta meets the art critic Mario Antolín and exhibits in the gallery of which Mr. Antolín is Owner at C / Serrano, Galería Alfama; the exhibition was called: “XV Appointment with the Drawing around Manuel Alcorlo”. On this occasion, the paintings by Carlos Acosta appeared alongside works by Pablo Picasso.
In the year 1997, Carlos donated 5 paintings to the City of Paris, sent by courier, receiving a letter of thanks signed by the then mayor Jean Tiberi. In the year 2001 Carlos traveled to Paris to see them and went to the Foreigners’ Dependencies of the aforementioned town hall, where he could see that they were exposed. In 2011 he would return to Paris, to the same place, but found that the paintings were no longer in place, he could only locate one of them in an office, the other 4 had disappeared, possibly because the mandate of Jean Tiberi lasted until 1998 and with him, his paintings also went away.
On July 18, 1997, Carlos was received by the then Mayor of Madrid, Mr. Jose María Alvarez del Manzano, who gave him a strong handshake when he saw him. Carlos gave him two of his works: “Tauromaquia” and a portrait he had made of the mayor himself, works that were deposited in the Museum of History of Madrid.
PHOTOS OF MIGUEL HERNAN Y ALVAREZ DEL MANZANO
Alvarez del Manzano helped Carlos organize an itinerant exhibition of his work with exhibitions by most of the Cultural Centers of Madrid. For Carlos it was a work of titans, because every month he mounted two or three exhibitions, in a transfer of paintings against the clock, adding new works that he was painting on the fly, so that each one of those exhibitions was different.
These samples by the Cultural Centers began in 1999 and continued until 2001. I will now make a brief summary about them.
Carlos takes his oil paintings to the Cultural Classroom Miguel Hernán, in the exhibition called “Nueva Figuración”.
The first half of May 1999 Carlos Acosta presents at the Cultural Center of Lavapiés “La Dolce Vita”.
1999 Federico García Lorca Cultural Center, exhibition titled: “A poet in New York”, presenting a series of paintings called “La Mente” and other works with the skyline of New York City, paintings painted in ink on cardboard. Some of the paintings exhibited there now belong to the collection of the National Library.
October 1999, he exhibited in the Agata Cultural Center a series of paintings and drawings called “Vivencias”, composed of drawings made with a single stroke over oils of warm colors.
First half of November 1999, Cultural Center San José de Calasanz, in La Latina, the exhibition called: “Energy”, thirty ways of seeing life.
Second half of November 1999, Antonio Machado Cultural Center, renders his “Homage to the Poet”; the day of the inauguration, the poet Miguel Hernán will recite some of his verses, such as the one that says “Caminante no hay camino ….” With which Carlos feels totally identified. In this sample he would present his paintings “La Espera”, “Familia”, “Tres Razas” and “Ingento”.
First half of January 2000, José de Espronceda Cultural Center, Carlos Acosta pays homage to Pablo Picasso.
Second half of January of the year 2000, Carlos takes his work to the Bohemios Cultural Center, with the exhibition entitled: “Expressions of Life”.
February 2000, exhibition at the Buero Vallejo Cultural Center with “Graphic Expressions”.
Valle-Inclán Cultural Center, Homage to the Poet.
At the José de Espronceda Cultural Center, Carlos Acosta pays homage to Pablo Picasso
Nicolás Salmerón Cultural Center, exhibition of paintings and drawings in Homage to Gabriel García Márquez (Gabo), Nobel Prize for Literature in 1981; for this exhibition Carlos has painted several pictures of nudes and allegorical works to the State of Zulia. Carlos donated his commemorative work on May 2 to the President of the Chamartín District, Mr. Luis Miguel Boto, at an event held at the Municipal Board of Chamartín.
March 2000, exhibition at the Almirante Churrruca Cultural Center, with the exhibition entitled “Spontaneity”.
In May 2000, Carlos Acosta exhibited at the Fernando de los Ríos Cultural Center 100 drawings and oil paintings with the theme “From Goya to Picasso”. One of the paintings exposed titled: “Version on Goya” is now owned by the Museum of the Royal Academy of San Fernando.
Year 2000, Julio Cortázar Cultural Center; Carlos presents his paintings in homage to the writer, works of the series “The Circus” of pastel technique, painted during the year 1999, along with other works such as: “Passion of the Females”, “Characters” or “Principle of Life” .
The last Cultural Center in which Carlos exhibited in the year 2000 was in the Crystal Palace of Arganzuela, in his sample entitled: “Homage to Spain”, set of works that were later distributed and deposited in the National Library, in the Community of Madrid, in the Royal Academy of San Fernando and in the private collection of Mr. José María Azcárate.
PHOTOS OF DONATED PICTURES
Therefore Carlos, has works in the private collections of the Presidency of the Community of Madrid, the Museum of the Royal Academy of San Fernando, the Museum of America and the Museum of History of Madrid.
I will also mention two other exhibitions that Carlos Acosta made in 2000, even if they were not in Madrid, forming part of the “Andinos” exhibition, in which painters from Venezuela, Colombia, Peru, Ecuador and Argentina participated, works that presented throughout Spain; One of those exhibitions in which Carlos participated was at the San Marcos Cultural Center in Toledo, the other was held at the Isabel de Farnesio Cultural Center in Aranjuez, where the Cultural Arts Promoter, Mrs. Josefina Pardo Barroso invited Carlos Acosta to exhibit , looking for your contact on the Internet. Carlos was only one day in Aranjuez and did not have time to visit the famous gardens, but later he would return to paint them in autumn and spring; In this way he came to understand what had inspired the maestro Joaquín Rodrigo to compose his concert. Carlos had met the famous musician in his 1985 exhibition at the 24 Gallery in Madrid and he knew that he adored Aranjuez. The actress Concha Velasco, the writer Antonio Gala, D. Manuel Fraga and the Marqués de Santo Floro, Raphael’s father-in-law, attended the event. He told Carlos that the singer was on tour in America and that for that reason He had been able to attend the show. Antonio Gala supported Carlos Acosta in his Homage to Spain, in 1994, there he asked Carlos to make him a portrait, which he now has placed in his house in a privileged place, next to his collection of canes.
PHOTOS CATALOG CULTURAL CENTERS AND EXHIBITIONS WITH THE PICTURES
In the year 2000 Carlos Acosta staged an exhibition at the headquarters of the United Nations, following the World Conference against Racism and Xenophobia in South Africa. That same year he took the opportunity to go to Venezuela and went to visit his teacher Roberto Duro who told him: “I already knew that I would highlight and paint many paintings”.
Carlos remarried 40 years, but again he felt misunderstood as an artist and the marriage would be separated, this time by mutual agreement in the year 2000; They had no children. By then the only company that Carlos will have, when going to live in Barcelona, will be his Cocker Spaniel named Piter, to whom he would make a painting.
Carlos with his dog Piter
In January 2001 the exhibition Tribute to the poet Miguel Hernández was organized in the Cultural Center that bears his name, with paintings such as “La Vida” or “Libertad desde las Alturas”, painted specifically for the event.
Carlos Acosta also got to know Alberto Ruiz Gallardón, Esperanza Aguirre, Ana Botella and Mariano Rajoy.
Carlos personally donated a painting of his in the Moncloa Palace to the President of the Government, Mr. Jose María Aznar (who also gave an oil painting with the portrait of the president himself), the work entitled: “Spain Against World Terrorism”, to thank him for the great work he was carrying out to eradicate this social scourge.
In 1997, on the occasion of the 30th anniversary of his professional career, the work of Carlos Acosta was presented by the Government of Venezuela to numerous international museums:
The Museum of Modern Art of New York
Museum of Modern Art Geaorges Pompidou de Paris
UNESCO Headquarters in Paris
Tokyo Museum of Modern Art
Galleria d’Arte Moderno de Roma
Musset for Samtidskunst of Oslo
Museum of Modern Art of Brussels
Kunstmuseum of Bern
Modern Stockholm Musset
Museum of Modern Art of Switzerland
Museum of Modern Art of the Netherlands
Carlos Acosta has donated works to the Spanish Embassies of Australia, Germany, France, United States, Great Britain, Holland, Italy, Portugal, Russia and Switzerland. He also has his work in most of the Embassies of Spain that represent the Ibero-American countries, since in 1997 Carlos delivered to each one of the Embassies in Spain of Venezuela, Peru, Chile, Ecuador, Uruguay, Bolivia, Colombia and Cuba of one of his works, to celebrate his 30 years of artistic career.
PHOTOS WITH THE AMBASSADORS AND PHOTOS OF THE PICTURES DONATED TO THE EMBASSIES
In 1998 Carlos travels to Venezuela to donate a dozen of his works to Fundasangre (Friends of the Blood Bank Foundation of the Federal District of Caracas), Dr. Rafael A. Gómez presides over the ceremony. Some of these works would be auctioned to raise funds for the foundation and others would be placed in buildings such as the Bank of Venezuela, the Directorate of Security or the Municipal Blood Bank.
That same year Carlos Acosta also donated a painting to the Association of the Blind of Zulia, which gives him an acrostic of the act in gratitude. The year ends with his sentence: “In life you always have to search and find what you are looking for”.
Carlos is very methodical in his work and achieves his goals “by touch” looking for quick solutions and acting, because he knows that things are only achieved by taking action.
In 1998 Carlos had his own studio in the Glorieta del General Alvarez de Castro, where he is doing very well, so he can afford to buy prepared food in El Corte Inglés or go to a typical restaurant in Madrid. At that time he devoted himself to painting. One of the works that comes out of there is the painting that Carlos donates to the Museum of the City of Madrid entitled: “Corrida en las Ventas in the Fiestas de San Isidro”, the museum of Madrid was then located in C / Príncipe Vergara 140 , then it would be called the Municipal Museum, and currently it is the History Museum, located in C / Fuencarral.
Another magnificent work gestated in that studio in 1998, is the surrealist painting entitled: “The Book of Life”, a majestic oil painting of intense beauty and color; in this painting by Carlos Acosta the Tables of the Universal Law are reflected, a hand that searches for hope and the balance of Justice. The face of a woman symbolizes life, because life is feminine, and also the woman represents Mother Earth. This painting was exhibited in Maracaibo and stolen from the gallery of the Fine Arts Center of Maracaibo where Carlos presented his Tribute to Maracaibo “A Maracaibo from the World” which he also called “A Maracaibo from Europe”.
The painting would appear months later in Colombia.
PRESS AND PHOTOS OF THE EXHIBITION AND OF THE PICTURE THE BOOK OF LIFE
Carlos Acosta counted on the valuable help of Alfredo Vega, who computerized all his documents in the year 2007 in Maracaibo and created his website “Maracaibo from the World” and also his first blog Without Demagogia, where you can see pictures of the painter.
In 1999 Carlos Acosta made a poster for the UN on World Peace, according to him is an allegory to life. Carlos had several meetings with Mr. Jaime Mayor Oreja, a prominent defender of Human Rights in the Basque Country and President of the European Parliament Committee.
In 2001 Carlos Acosta participates with the Ong Paz y Cooperación, of which he was president Mr. Joaquín Antuña, whom he met at the July 5th Party, Independence Day of Venezuela, which was celebrated in the house of the Ambassador from Venezuela, Joaquín went to chat with him and they met again another day, thanks to him Carlos Acosta did a job for the UN, which is why he gave Antuña a painting of his. On this occasion, Carlos made the drawing that appeared as a poster of the 2001 School Peace and Cooperation Prize “Volunteers for Peace” award, which was aimed at school children and teachers from all over the world. A prize dedicated to the International Year of Volunteering of the United Nations, sponsored by the Court of The Hague (The Netherlands), whose seat is in the so-called Palace of Peace. Carlos Acosta was appointed Ambassador of Peace and Cooperation by Mr. Joaquín Antuña, who immediately highlighted the artist’s artistic and cultural mission. Concluded the call and the decision of the jury, the mayor of Madrid, Mr. José María Alvarez del Manzano, presided over the ceremony of the School Day for Peace, which was awarded the diplomas of the School Peace and Cooperation Award to students from 12 countries, including Spain. The inauguration of the exhibition School in the Third Millennium was prepared and assembled by the painter Carlos Acosta.
In 2001, he participates several times in a program moderated by Joaquín Antuña, there were representatives of Anmistía Internacional and REMAR, an NGO that has its own digital television channel where it trains speakers. In these programs, Carlos generates a debate about the effectiveness of the social actions of the NGOs and where the money goes, as they are not supposed to be non-profit organizations.
In the year 2001, Mr. José Bono, President of the Community of Castilla-La Mancha, received 5 works of Carlos and abundant documentation, which were deposited in the headquarters of the Government of that community and in the Library of Toledo. In the year 2003 Carlos Acosta would donate 7 oils to the Community of Castilla-La Mancha, as well as a lot of drawings and documents to the Library of Castilla-La Mancha. Carlos met José Bono in 2002, in a joint act of Tribute to the Basque poet Vidal de Nicolás and the Catalan poet Joan Maragall, carried out in the Estudio Taure del Barrio de Gracia in Barcelona. Vidal de Nicolás became President of the Ermua Forum until 2005, dedicating a large part of his life to the fight against terrorism in the Basque Country.
DOCUMENTS JOSE BONO-TOLEDO = INSIDE CARPETA MADRID
BASQUE COUNTRY (2001)
Carlos wrote to the LehendaKari of the Basque Government Mr. Juan José Ibarretxe and donated his works to him so that he deposited them in the Historical Archive and in the National Library of the Basque Country. That same year 2001 Carlos traveled to the city of Vitoria to participate in an act against ETA terrorism, this collaboration was facilitated by Pablo Setién, Secretary of International Relations of the Ermua Forum, with whom he collaborated in the EFE Agency, where Pablo worked in the History Department. Carlos painted exprofeso for the act against ETA a mural entitled: “For the Defense of Democracy in the Basque Society”, work that was delivered to the Ermua Forum before a notary that December 6, holiday of the Day of the Spanish Constitution. Carlos would be named Honorary Member of the Ermua Forum. Carlos also painted for this occasion a painting in Tribute to Judge Baltasar Garzón: “Spanish Justice at the National and International Level”, a work that he delivered at the same event, which Garzón attended to receive a prize for his career. The event was held at the headquarters of the Ermua Forum, where there was a press conference in which several television networks participated, Carlos was interviewed by a journalist from Antena 3; his mural presided over the stand, a monumental work of 8 meters long by 4 high that occupied the entire wall at the back of the room. As speakers at the press conference were Carlos Acosta himself, Ernesto Ladron de Guevara and Francisco Doñate; both defined Carlos’ work as “the artistic expression of a man committed to freedom, democracy and human rights.”
PHOTOS AND DOCUMENTS FOLDER FORUM ERMUA
In the year 2001 Carlos would paint another mural, of the same dimensions as that of the Ermua Forum, dedicated to the victims of the terrorist attacks of September 11, work that was delivered to the Government of the United States through the Embassy of the E.E.U.U. in Spain, from where she was transferred to the Department of State of Washintong.
In the year 2002 Carlos Acosta makes his own Homage to the National Police, for his efforts and merits in the fight against terrorism, with his work entitled: “Allegory to the National Police Corps”, which will deliver to the Principal Commissioner D. Felix Simón Rosemary. More information can be found in the digital magazine Police Today: http://www.policia.es/policia today.
PHOTOS OF WORK USA – POLICE
In the year 2001 Carlos also manages to introduce his works in the collections of numerous international Embassies in Spain, such as the United States, France, Portugal, Italy, Russia, Great Britain, Switzerland, Holland and Australia. His works were sent by diplomatic bag to the Department of State of each of those countries. Likewise, he painted and delivered works in the Embassies in Spain of: Venezuela, Bolivia, Ecuador, Bolivia, Peru, Uruguay and Cuba.
PUT EMBASSY DOCUMENTS
That year 2001 was so fruitful for Carlos that he would still have time to contact the 0.EI (Organization of Ibero-American States for Education, Science and Culture), which gave him a room to exhibit his work between October 30 and on November 16.
PHOTOS OEI DOCUMENTS
Carlos Acosta settled permanently in Barcelona in 2001, a city where he is very well received by the Catalans. Carlos lived a season in Hostal Picasso, very close to La Rambla; the director of the hostel likes his paintings a lot and as they found it a good investment, Carlos paid him with his work; also painted an oil on the roof of the reception of the hostel entitled: “Allegory to Barcelona.” Later they even allowed him to make an exhibition of his paintings in the halls of that same hostel.
Carlos sought work in Barcelona as a security guard and effectively, he searched the telephone directory and went to interviews until he got him to hire a company to do various services, this is how he did night watches in the Port of Masnou, in a paint factory, at the Catalan Health Institute, at Catalana Occidente and at the Hospital de Barcelona; between round and round he made sketches for his paintings, then painted and mounted them in his studio on Avenida de Valencia, where he lived for rent.
Carlos exhibited his work at the Comaposada Foundation of UGT, in an individual exhibition entitled: “Historia”; somehow he did it to enter the union world, because in Barcelona there were many unfair dismissals and Carlos denounced him and even avoided some, so he put an interest in what he came to call “The Traveling Trade Unionist”.
The same paintings that could be seen in the foundation of UGT, were exhibited at the headquarters of the Obra Social de los Hermanos de San Juan de Dios in Barcelona, an institution to which Carlos was very grateful for his hospitality and personal support.
Carlos would move to Madrid from Barcelona to collaborate with Anmistía Internacional, in 2003, donating a mural and a folder with watercolors of his authorship for a charity auction. In 2005, she participated in the campaign against gender violence, sponsored by Anmistía Internacional and La Caixa, held in Barcelona: “No agressions a la dona”; Carlos was fully involved with the cause, with an individual exhibition, whose catalog carries on the cover the work of Carlos Acosta: “Verdict”. This sample was exhibited in the Centers of the Viure i Conviure Foundation (Vive y Convive) for two months, one in Reus and the other in Tarragona.
In 2003, Carlos traveled to Maracaibo to donate three of his works to the Art Foundation of Maracaibo Lía Bermúdez, and took the opportunity to donate two more of his paintings to the Contemporary Art Foundation of Zulia (MACZUL), titled works: ” Fireworks “and” Dancers “.
Between the years 2000 to 2005 Carlos Acosta will donate his works to the following institutions in Barcelona: Mossos d’Esquadra, with his work “Democracia y Seguridad”; “Freedom of Expression”, work received by the director of the newspaper La Vanguardia Conde de Godó; mural with the Señera donated to the Government of Catalonia, presided by Joan Clos; picture entitled “The Family” to the Cathedral of Barcelona; mural for the Santa Monica Art Center; his work “Tribute to his pages of Gold and Diamonds” dedicated to Fútbol Club Barcelona; donation of 21 drawings from his collection “Obra Gráfica” to the Biblioteca de Cataluña; donation of various drawings and documents to the Xavier Amorós de Reus Library; donation to the Royal Academy of Bones Lletres of two works titled: “Dedicated to Federico García Lorca” and “Death of Federico García Lorca”; donation of 56 preparatory drawings of the mural dedicated to Generlitat de Catalunya to the same institution; donation to the Royal Academy of Fine Arts of San Jordi of his painting: “Visitors in Egypt”; donation of the mural “Homage to Catalonia” to the Museum of Contemporary Art of Barcelona; gift to Artur Más (Secretary General of Democratic Convergence) of one of his oil paintings; donation of his work “Alegoría” to the Catalan press; donation to the Fine Arts Center of Barcelona of the painting “For the Freedom of the Cuban Prisoners and the End of the Dictatorship”, at the 50th Anniversary of Human Rights; donation of two works to the Catalana Occidente Foundation titled: “Cervantes Writing Don Quixote in the Prison” and “Miguel de Unamuno”, to thank the Cultural Center of Sant del Vallés for its support, collaborating in the restoration of the Cloister of its Monastery and promoting art together with the Contemporary Museum of Barcelona. Carlos also donates one of his works to the Royal Nautical Club of Barcelona and donates another work entitled: “To the Diario AVUI for its merits”, to said Catalan newspaper.
PHOTOS AND DOCUMENTS OF BARCELONA
Carlos Acosta will exhibit his works in the collections of the Barcelona City Council, the Generalitat of Catalonia, the Barcelona Cathedral and the Library of Catalonia. His passage through the city was not in vain, but he could never expect what happened to him afterwards.
On May 10, 2005, a date he will never forget, Carlos strolls through La Rambla de Barcelona and prepares to cross the street, not realizing that a motorcycle was coming instead of stopping, it seemed to be accelerating as he was heading towards it , in such a way that with the impact it makes him leave fired by the air and fall squarely on the asphalt several meters later. Carlos has always thought that it was not a simple accident, but that it was an attack.
An ambulance will take you to the Hospital de Barcelona, where you have an emergency operation, having both legs completely destroyed and losing a lot of blood through the femoral. The operation will last 10 hours, after which you will be informed that it will be necessary to do more operations to rebuild your legs, as it has chipped bones and debris, so it will be necessary to make a femoral graft and put several prostheses. They warn you that the process will be long and painful, you may not be able to walk again.
After the first week in the hospital, he is transferred to the Delfos Clinic, where he will remain hospitalized for 11 months and will undergo four more operations. During all that time Carlos will remain bedridden, but without losing a bit of his spirit; he has a room for himself and uses it as his studio, since he will continue to paint semi-flat, with an improvised easel supported by pillows on the bed, and he does so thanks to the material provided by the nurses and a boy named Martín, receptionist of the San Juan de Dios Hostel, where Carlos was staying before suffering the accident. Martín brings him paper, canvases and paintings every week, he will also run errands such as sending letters, recharging his cell phone or taking him books and classical music. Carlos does so many drawings, sending part of his work by mail to the National Library and maintaining contact with the press. Carlos remembers that the room was on the fifth floor and had very good views through the window, from there he could see the fireworks of the Night of San Juan, which for him was a gift. After the four operations, he is discharged and Carlos will be transferred in an ambulance with his wheelchair to the Albergue de San Juan de Dios, but Carlos is still so weak that in a few days it is necessary to admit him, this time in the Center Rehabilitation of Santa María de Marichalar, where they will give you a very high fever that the nuns can not get you down with anything, so you will be transferred to the Hospital del Mar, where you will be diagnosed with pneumonia. He will remain hospitalized until his full recovery, and meanwhile, from Monday to Friday, he will be taken by ambulance to the Delfos Clinic to do the rehabilitation there. When Carlos gathers enough forces, he asks for the discharge to go to Maracaibo, still in a wheelchair he takes the plane from Barajas.
In Maracaibo he will finish recovering but, the fracture of both legs at 52 years old will leave him with sequels, since from then on he will drag a limp and his right leg will be rigid, because he can not bend the knee; he can not bend or run either and he has a hard time going up and down stairs, but he is able to stand and walk a whole city on foot.
DOCUMENTS CLINICAL DELFOS
When Carlos flies to Caracas in 2006, with the intention of spending a season at his parents’ house to finish recovering, he takes the insurance money that his lawyer has given him for the compensation of the accident in an envelope, money that he needs to pay for your next operation. After leaving his things in the hotel where he is going to spend the night, he approaches the Ministry of the Interior to offer the donation of one of his paintings, which they reject fully telling him: -How do you want us to accept a picture of you if you are against the Government? -. When Carlos takes a taxi back to the hotel, he notices that a car is following them and, before arriving, a police vehicle stops them and they ask Carlos to show everything he has. The taxi driver tells him that it is better that he give money to the policemen so that they leave him alone, and then Carlos gives them one hundred euros. When they finally arrive at the hotel, Carlos asks for the account to leave the next day, because he knows they are watching him.
He arrives at his parents’ house and Oscar d’Empaire, who had heard about his accident, telephones him to ask how he is doing; Carlos will go to see an exhibition of the sculptures of Mr. d’Empaire mounted in his wheelchair.
After a week, Carlos still has many pains in his legs, so he decides to enter the Maracaibo Clinic, where he will be operated for the sixth time. He will remain hospitalized for 15 days and when he returns home from his parents, he will dedicate himself to rehabilitation, practicing a series of exercises for 45 minutes, three times a day, thanks to which he will be able to walk with crutches in 2007. That It would be the last time he would see his mother, who would pass away in 2017.
Carlos had the feeling that he would not go back to Venezuela any more, and since he knew that there was a lot of misery in his country, he took a lot of drawings made in Paris between 1980 and 1982 and also compiled all the drawings and pictures that his mother still had. He kept them in his house, painted between 1969 and 2000, to donate them to the Church of the Cross, which collaborated with COFAM (Colectivo de Familias Adoptantes of the Creixer Junts Association), where they auctioned and bought food to distribute it to the needy .
From the first moment that Carlos can walk, he begins to actively participate against Chávez’s policy, writing letters against his government that will be published in the Panorama newspaper and participating in demonstrations, such as the one that took place in the Plaza de Bolívar in Maracaibo. that the journalists organized a protest in defense of freedom of expression. Carlos remained standing on the stand, speaking with his microphone in his hand, next to the Venezuelan flag, as you can see in a photo made by the newspaper Maracaibo.
That June 27, 2007, Journalist’s Day, Carlos was twinned with the Zulian communicators to make a human chain for the freedom of the press. The painter offered in the act one of his paintings, inspired by the Venezuelan realities, to support the cause. After this multitudinous demonstration, Carlos went to renew his passport and his D.N.I. Venezuelans, in the Maracaibo police station they denied him, so he could only stay three more months in the country, before being arrested; it was also possible that, given the situation, his life was in danger, so he decided to return to Spain.
Carlos remembers that when he was born, the so-called Pérez Jiménez dictatorship had seemed to him a good government, since this president had endowed Venezuela with all its infrastructures and all the important buildings that exist today. It was also a time when people enjoyed a quiet life and safety in the streets, with the currency booming and food and basic necessities very cheap.
Later it governed Raul Leoni, to that happened Rómulo Betancourt, that continued maintaining great security and economic stability in the country. Fidel Castro sought to enter Venezuela, but President Betancourt prevented it, which is why he suffered an attack on Avenida de los Próceres, which fortunately came alive. Dr. Rafael Caldera, a great defender of the Christian religion, would later enter the government, was considered a pioneer in the construction of democracy in Venezuela, and also participated in the drafting of the First Labor Law implemented in Venezuela, which defended the workers and managed to conclude the process of pacification of the insurgent guerrilla movements of the left that rose up against the governments of Betancourt and Leoni at the beginning of the 70s; but the great error of his second term was the granting of a pardon to Hugo Chávez and the military that rose up against the government of Carlos Andrés Pérez in 1992, who were not condemned or disqualified from holding public office. In spite of this, the following mandate of Carlos Andrés Pérez, brought progress for all, but with his successor Jaime Lucinchi, Venezuela declined, for what happened to govern in his second term Rafael Caldera, but the dissatisfied people asked for the return of Carlos Andrés Pérez, to take the country out of the crisis in which it has entered; Taking advantage of this instability, Hugo Chávez overthrows democracy with a coup d’etat in 1998, when all the previous presidents had been educated and intellectuals, Chavez has no preparation to govern the country. The first thing he does is to go against the Venezuelan culture, without taking into account the traditions or their representation abroad, with what he left for dead the activity of the Venezuelan artists of the time, and censured the writers and actors recognized at the world; what he was looking for was to forge his own culture in union with the Cuban Castroite, choosing himself the new artists who would represent Venezuela from then on, according to his guideline. This means that the coup was also for the authentic way of expressing themselves of Venezuelans, something that he camouflaged by calling it “Bolivarian revolution”, which was totally contrary to democracy. Carlos noticed the censorship and the brutal rejection both in his own flesh and that of his comrades, who began to close all doors in their own land, if they did not support the Chavista regime. As of 1998, Carlos no longer exhibited his paintings in Venezuela. Carlos painted a picture titled: “Blood in the lake of Maracaibo” that expresses all the pain he felt for what was happening in his country. The nightmare is now repeated with the dictator Nicolás Maduro, while Carlos awaits patient the end of his cruel mandate, which has forced thousands of Venezuelans to give up everything and go away. Maduro is in the crosshairs of the international press, with the country in bankruptcy due to the greater internal debt of its history and citizens paralyzed by hunger, misery and fear in the face of total insecurity in the streets. Everyone knows that President Trump of the United States is taking measures to overthrow Maduro, who in turn is protected by the Castro regime. It is expected an outcome that stops so much evil for this 2018.
Carlos Acosta Azuaje / Human Rights
PUT PANORAMA ARTICLES AND DRAWINGS CARPETA = CONTRA CHAVEZ
In 2007 Carlos meets in Madrid the Venezuelan actor Héctor Sánchez, one of many exiles who hopes to return some day to Venezuela. They become friends and Carlos gives him a portrait of Simón Bolívar (a character from whom Carlos Acosta would make an iconography since the first time he painted him at age 24). Hector dies in Madrid if he has fulfilled his dream of returning to his homeland and the painting is inherited by his daughter, who one day calls Carlos over the phone to ask how he could sell his painting; Carlos does not know how to give him an exact price and then she takes him to one of the most important art galleries in Caracas to be appraised, but they give him an unpleasant surprise to tell him literally that “it is forbidden to say the name of Carlos Acosta”; that’s where the painter’s veto came from in his country of origin. For this reason, Carlos has always been afraid to contact his relatives, fearing that they may retaliate against them, since he suspects that they are even watching him online.
Carlos will return to Barcelona and the first thing he does is go to the Delfos Clinic, already walking, to visit the doctors and nurses who attended him and who are pleasantly surprised to see him, he brings one of his gift boxes. Then from Barcelona, Carlos will travel to Madrid, where he will organize an exhibition, and then, even with crutches and a waste of energy, in 2008 he will go to Tokyo, stopping in Paris, with a painting under his arm that he will deliver in the Embassy of Venezuela in the Hong Kong Consulate General.
HONG KONG (2008)
Departure from El Prat airport in Barcelona
When Carlos arrived at the hotel where he was going to stay, he asked the receptionist if there was someone in the hotel who spoke French, and they introduced him to the chef, who turned out to be also the hotel manager. Carlos and the director ate together every day and chatted in the meantime, one day Carlos asked him why he had left France, the chef and hotel owner replied that salaries there were very low, but in Hong Kong He earned a lot more money, so much that he had managed to start his own business. Carlos will find an effervescent city, where everything is sold and everything is a bargain. Culies dodge taxis around the streets, the streets are like an anthill of Europeans, Africans, Japanese, Malays, Indians and North Americans, which Carlos finds hard to cross. The bay is lined with Chinese reeds with crimson candles and the food is a thousand colors and flavors. Carlos admired the drawings and zen calligraphy, but came to the conclusion that they all had the same scheme and were like each other, as if they were not free to paint and express themselves in another way. He found that Chinese painters never sign their works, but put the name of their teacher preceded by the phrase “disciple of …”.
The experience would serve to give an oriental touch to his later works.
See Carlos Alberto Acosta Azuaje / China.
Carlos Acosta at an exhibition in Hong Kong
Carlos returns to Madrid and participates in the campaign organized by the CGAE (Bar Association) called “Caravan of Human Rights”, with his work entitled: “Justice”, a painting that represents the commitment of the painter with the Defense of the Human rights. The caravan was an itinerant exhibition throughout the Spanish state, in Madrid was “parked” for 15 days in the Plaza de España. When the tour ended, Carlos presented his painting to the Bar Association. Since the end of the 20th century, art and culture have been progressively degraded until they lose much of their value and the art galleries of Madrid were closed due to lack of of resources, paintings were not sold as before. Now the paintings are designed by computer and are manufactured in series, so they are much cheaper than those painted by hand. The Spanish State has carried out a persecution of the artists through the Treasury, leaving them in ruins, they do not quote and they are not entitled to a dignified retirement. Nowadays, if you do not drive on the Internet, you are totally out of date, because what reigns are Social Networks. It seems that the Digital Age is destroying the value of authentic things.
At that time, Carlos was completely immersed in his facet as caregiver for the sick and reporter, which made him more important to alleviate the suffering of people than to paint. In the year 2010 Carlos was defending Antonio Meño, a boy who went to have an operation of the nasal septum in the Social Security and stayed in bed with a paralyzed half body, without hope of recovery, due to excess anesthesia. Antonio’s parents reported him to the press and the case reached the Courts of Plaza de Castilla. Antonio Meño and his mother moved into a tent in front of the Ministry of Justice and stayed there until the Supreme Court trial was held. All this can be seen in the links: Carlos Acosta Azuaje / Antonio Meño, departure of Antonio Meño for the supreme for the trial, part of the speech of lawyer Bertelli, response to the letter of the Spanish Ministry of Justice.
Carlos had met the former Cuban consul Raquel di Porro, while walking his dog through Plaza de Castilla, was a lawyer who had studied at the University of Havana, and had graduated in the same class as Fidel Castro. She was consul during the mandate of Fulgencio Batista, but then had to leave the country because he was against “Castroism.” Raquel di Porro gave Carlos a large dossier that contained abundant documentation of everything that had happened since Fidel Castro had established his political regime in Cuba; Of course, Carlos hung everything on the Internet. The ex-consul introduced Carlos into the great Spanish circle of opposition to Castro. In 2012, Raquel di Porro invited him to an event at the Circulo de Bellas Artes in Madrid, for the Defense of Cuban Political Prisoners, an event in which the President of the Community of Madrid, Esperanza Aguirre, gave a lecture. Carlos traveled expressly from Paris (where he was then) to attend the event, where he delivered one of his paintings, he had painted for the occasion. Carlos had already had contact with Cuba before, since his paintings were donated there, one of them in the House of the Americas of Havana in 1983, on the occasion of the Bicentenary of Bolívar, and two others in the Embassy of Cuba in 1997, with peaceful intentions. Carlos had always supported the Cuban people during the dictatorship of Fidel with his reports on the Internet, which were followed by all Venezuelan and Cuban journalists, opponents of the dictatorships. See links on the Internet: statements from a batista Cuba consul, baracuteycubano.com, supportcubaydanezuelanoesdedemocratas. blogspot.com
DOCUMENTS OF CUBA AND RACHEL DI PORRO
Carlos would stay 6 months in Madrid to continue with his activities, one of which was to attend the presentation of Carlos Montaner’s book “Cuadernos de Cuba”, book against the Castro regime, at the Centro de Bellas Artes, where the painter I would do an interview at the end of the act, on June 19, 2012.
Carlos traveled to Israel from Madrid, stopping in Paris, because he wanted to visit for a week the cradle of the Judeo-Christian faith; a place that he considered mythical and essential in his career throughout the world, for him a city full of light, history and poetry; He also wanted to discover the Hebrew culture, since Carlos considers that the footprint of the Hebrew people has left its mark on Europe, since 85% of the Western population is of Judeo-Christian origin. Carlos noticed a great feeling of belonging to that sacred place since he stepped on his land, excited to be on the stage where Jesus Christ lived and died, who was a Jew.
He managed well to understand people because they spoke French, so it was not difficult to communicate.
He saw the Hebrew culture embodied in each corner and wept as he climbed the Mount of Olives and walked the Via Dolorosa to Calvary. He contemplated the Wailing Wall and managed to make reports of all this. He also visited the King David Museum, which he found extraordinary, where he could see the king’s tomb, which is a pyramid two meters high, which is located outdoors on the roof of the building, from where you can see the oldest area of the city and its monuments. In the central plant of the museum there are reliefs, archaeological remains, ceramics and documents about the time, where the wars in which King David participated to defend his people are narrated. The war continues, but there is no longer a King David to defend them.
For more information about this trip of Carlos, you can see the videos that you have posted on You Tube, putting separately: Carlos Acosta Azuaje / Jerusalen, Carlos Azosta / Palestine Acosta.
Carlos flies from Madrid to Paris on New Year’s Eve in 2011, with the purpose of meeting again the wonderful city he discovered in 1980 and making reports from the art museums, but he is very disappointed when he meets a disfigured and sad Paris … the glamor of the Belle Epoque has disappeared and through the streets or in the subway it is crossed with aggressive faces that carry hatred in the eyes. The city is unknown, it seems helpless, plunged into a halo of uncertainty, with a high rate of crime, poverty and unemployment. Carlos was robbed several times, the wallet in a library, the computer, the cell phone, the photo camera … to the point that he got to sleep with them.
Carlos met every morning with a rabbi with a big beard and always greeted each other as he passed the Musee d’Art et d’Histoire du Judaisme, where Max Chagal’s paintings are. He was the only one who said good morning saying “Shalom.”
Through the open borders have entered many Arabs who, installed and hidden in their operations centers, prepare and carry out a series of terrorist attacks, sowing panic and chaos among the French population, as happened in the Bataclán nightclub or that of the seafront of Nice. There was a lot of insecurity and the sirens of the police cars kept ringing day and night.
Carlos begins a crusade to save France through his reports on the Internet, as an independent journalist, he works every day, from six in the morning, to walk the streets of Paris and denounce what is happening, interviewing people who they told how bad they were going through it, unemployed, beggars, old people, exiles, immigrants, desolate people who considered the true protagonist of their time. There we see the most committed and human Carlos, the defensive warrior solemn voice, whose prose sometimes becomes poetry and whose word describes, with the same strength that permeates in his brush, traits and scenes of injustices that are silent but that for him they never go unnoticed. It does not stop to defend at all costs to the authentic French and of course to Marie Le Pen. Carlos suffered a fierce persecution from the institutions, as he was denied access to the Pompidou Library and the Forney Library, where he used to post his stories on the Internet, telling him that he was plotting against the country; even one day they did not let him enter Notre Dame, it turns out that the watchman was Arab. These would undoubtedly be the most difficult and conflicting years in the life of the painter. In spite of everything, Carlos was happy living in Paris, he felt strong resisting the pressure and writing his articles, because many followers showed him their support and thanked him for what he was doing for the country. He also cooperated with the Venezuelan, Spanish and Cuban press in opposition to the dictatorship and in a comment about him posted on the Internet, they even said that it was “Le plus grande communauté professionnelle au monde”.
On one occasion when he approached the suburb of Saint-Denis, with the intention of visiting the Abbey in which the French monarchy is buried, he did not realize that it was a dangerous place, a breeding ground for Muslim terrorists and when he was walking entrusted by the sidewalk of the Rue du Farbourg, they tried to run over him again; this time it was a dark car, with tinted windows, that went straight to him at high speed, fortunately Carlos saw it coming and jumped aside, which managed to dodge it, but did not have the same luck a man who He walked a few meters in front of him, as the car impacted him completely and he was thrown by the air, being inert in the road. The car fled at high speed and Carlos was terrified, watching as people surrounded the body and after a while the ambulance arrived and took the man covered with a sheet.
But neither this nor other attacks to which he was subjected made him consider leaving Paris; in a way, the risk was exciting and he could not remain unmoved by what was happening in the city.
In 2012 Carlos slept in a covered passage adjoining the building of the Cité Internationale des Arts, a residence of artists where the prices were prohibitive, since only a privileged few could sleep there, even though it was said to be a foundation of public utility. She shared space with her sleeping bag with other homeless people she befriended, one of whom was a French lady of about 80, of great bearing and elegance, which Carlos suspected had belonged to the nobility, but she never wanted to reveal her identity, not even her name. She knew a lot about art and she treated Carlos with as much affection as if she were her son, she got him clothes and shoes and invited him to paint, showing admiration for her drawings, she told him that she had sold Modigliani paintings, but it is not known if He was a collector or had his own art gallery. With them were two Spaniards, a security guard called Manuel, who was from Madrid and Jose Luis, poet and artist.
The rest of the group was composed of five South Americans: Sergio, a Colombian mathematics teacher, Jockey Blas, who, as the name suggests, was a horse racing rider, a cook named Favio and finally Guillermo, who worked in construction. They spent a season with them, a Swiss, who had a nice meeting when his wife came to look for him and they left together.
Carlos went every afternoon to the parish of Saint-Paul Saint-Louis where he met Father François Bertoret, a Jesuit of great vocation who continued to officiate at the Mass despite being sick. That church was very dear to Carlos because it was a place full of light that inspired fraternity; the altar was on a circular golden platform that symbolized the Christian world and a ray of sun that fell directly on it was filtered through the dome; It was a huge tomb, in its catacombs were buried the Jesuits victims of Napoleon.
It was comforting to Carlos to speak with Father Bertoret and listen calmly to his kind voice and advice; while he was there, Carlos defended the church from the entrance of people “non gratas” and as the father ended up having to use a wheelchair, Carlos held him upright at the moment of the consecration.
There are interviews and reports about this endearing character in YouTube links: François Beroret ss.jesuita interview and François Jesuit priest example of love and vocation.
Carlos spent his last years in France sleeping in the CHAPSA of Nanterre, a Center for Housing and Assistance for the Homeless, in the neighborhood of that name that is 12 kilometers from Paris. Every day at six o’clock in the afternoon, Carlos got on a bus from the SAMU Social Hauts de Seine, which took him there from Les Champs Elysées, through a long tunnel that communicated with Nanterre. In the center there were sick people in wheelchairs who would not be there, mixed with beggars and “clochard” which is what they call vagabonds there. The CHAPSA was an emergency shelter that operated 365 days a year, with an unlimited stay, providing lodging, shower, dinner and breakfast. The rooms were four and eight beds, you could enter from 16:00 h. until 9:00 p.m. from the morning of the next day; the users benefited from a medical consultation.
It goes without saying that Carlos Acosta ended up speaking French perfectly and you can listen to his stories narrated in both Spanish and French.
See links on You Tube:
Victor hugo miserable / pamiserables paris
Carlos Alberto Acosta Azuaje / Reflection / Paris / 29/7/2011
France reality library forney paris / carlos Alberto acosta Azuaje
Weeds in Paris? / Reflection by Carlos Alberto Acosta Azuaje
Education of France against existing illegalities / reflection by Carlos Albert Acosta Azuaje
France drinks for increasing corruption of left / reflection by Carlos Alberto Acosta Azuaje
Carlos Alberto Acosta Azuaje / musee d’art et d’histoire du judaisme
Carlos Alberto Acosta Azuaje / Picasso Museum
Carlos Alberto Acosta Azuaje / pompidou center
Carlos Alberto Acosta Azuaje / museo d’orsay
Louvre Museum / Spanish Painting / Carlos Alberto Acosta Azuaje
Carlos Alberto Acosta Azuaje / marine le pen
This is the Paris that sleeps in the street / Carlos Alberto Acosta Azuaje
Amour pour france forte / Carlos Alberto Acosta Azuaje
Racism at the nanterre shelter in 2014
Because violence of the Arabs in France / reflection Carlos Acosta Azuaje
Carlos began to dedicate himself to journalism in 1998, making videos, interviews and reports on the street, a hobby that is accentuated from 2007, after his forced departure from Venezuela, reaching up to 15 daily reports that hung on his blog.
Carlos develops a direct style, bold, resounding, wisely spun and well documented, attacking ignorance, inequality and incompetence, defending the unprotected and bringing to light what happens in a society that no longer defends the weakest , to those who need it most.
Precisely in the year 2001 began to consider journalism as a liberal profession, this meant that to be part of the press was no longer necessary the title of Information Sciences, because it only required the direct and consistent expression of a text ; among the countries of Europe that accepted this modality was Spain.
Carlos Acosta is on Blogger since 2007; The first blog he published was: Sin Demagogia.ccarlosacosta.blogspot.com, where you can see many of his works and important documents. Carlos is on WordPress, Twitter, YouTube, Facebook, Linkedin, Sonico, Myspace, Google+, Google.com, Yahoo, Flickr and Uklndex. It has more than 100 links and more than 1000 videos on the network, most of which you see talking in the foreground.
Carlos Acosta Azuaje Dossier
Carlos Acosta Azuaje Biography
Carlos Acosta Azuaje / Royal Academy of San Fernando
Carlos Acosta Azuaje / national library
Carlos Alberto Acosta Azuaje / press
Carlos Alberto Acosta Azuaje / journalism
Carlos Alberto Acosta Azuaje / reflections
Carlos Acosta Azuaje / tributes
Carlos Acosta Azuaje / racism
Carlos Acosta Azuaje / museums
Carlos Acosta Azuaje / embassies
Project of the mural for the peace of the Middle East
carlosalbertoacostaazuaje / abogadosdeoficio
Carlos Acosta Azuaje / immigrants
In conversation with a Jew about Christ Jesus in Paris / Carlos Acosta Azuaje
Carlos returns to Madrid on New Year’s Eve 2017, exhausted by the episodes lived in Paris and full of bitterness at the news of the death of his mother, after many years without seeing her again, she has not even been able to go to Venezuela to the funeral. She feels that she is the woman that she has loved the most in her whole life and that now she has lost her forever.
Carlos sleeps in the Albergue Municipal Shelter Center for the Homeless of Pinar de San Martín, which is behind the Príncipe Pío station, and goes to eat daily at the social dining room of the Daughters of Charity of San Vicente de Paul, which is in the Paseo del General Martínez Campos, very close to the Hotel Miguel Angel where he once exhibited his paintings and the Sorolla Museum, where he did so many things in good times. Now nobody recognizes him on the street with his long white hair and thick beard, which give him an amazing resemblance to Santa Claus. He will turn 65, very far from when he started painting with only 15. The word retirement does not say anything, he wants to keep doing things, since he still feels young and his spirit remains restless, one of his goals is to introduce his work at the Museo Reina Sofía, where only painters who have a career of more than 35 years. Now his stroke when drawing is stronger and safer, the sum of all the previous strokes, a simply magnificent stroke.
BIBLIOGRAPHY IN WHICH THE NAME OF THE PAINTER CARLOS ACOSTA
Art Directory in Spain Arteguía, Fernán-Gómez editions, 1985,1986,1987,1988,1989,1991,1992,1993,1996,1997,1998 and 1999.
WHO’S WHO in International Am 1994, 1995, 1996 and 1997.
Catalog of Paintings of the Municipal Museum of Madrid (current Museum of History) edited by the City Council in 1990.
Department of Culture 1990.
Dictionary of Spanish Painters and Sculptors of the 20th Century, edited by Forum Artistas in 1994.
Dictionary of Contemporary Artists of Madrid, editions Fernán-Gómez. 1986
Catalog of Paintings of the Museum of the Royal Academy of Fine Arts of San Fernando.
National Library. Search by Carlos Acosta (1953).
General Dictionary of Zulia.
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