Pedro Centeno Vallenilla

He studied at the Academy of Fine Arts. On August 1, 1915 he exhibits in Manrique Photography; He is then appointed civil attaché to the Legation of Venezuela in Rome, where he is established. There he is dedicated to the study of early Italian art and the Renaissance and, especially, the work of Michelangelo. Explore in Rome the Americanist theme, where it combines American and European types, or later, Quetzalcoatl (1931). In 1929 he was appointed secretary of the Venezuelan legation before the Vatican. The king of Italy, Victor Manuel III, at the request of the head of government, Benito Mussolini, appointed him knight of the crown of Italy. With Brujerías he achieves an honorable mention at the International Exhibition in Liege, Belgium. In 1931 he made his first individual exhibition in Europe, in 1932, he exhibited at the Academy of Fine Arts. Upon his return to Italy, in mid-1932, he took part in the "International Exhibition of Modern Sacred Art" in Padua. Likewise, he gave the shadow (1930), with images of Saint Sebastian, Saint Francis of Assisi and Saint Anthony of Padua to the Capuchin fathers of the Church of Our Lady of Las Mercedes de Caracas. In 1933, on behalf of the Venezuelan government and bound for the Elliptical Hall of the Federal Palace (Congress of the Republic, Caracas), he paints the portrait of the former Lino de Clemente. In 1935 he exhibited at the Doria Palace, in Rome. In July 1938 he returns to Venezuela; in October he exhibited at the Ateneo de Caracas and in 1939 at the Ateneo de Valencia (Edo. Carabobo). Donate to the Cathedral of Caracas an image of Saint Sebastian and make the decorations for the catafalque destined for the funerals of Pius XII. In the same year, he returns to Italy and in 1940 he lives in New York, where he remains until 1942. On February 24, 1940, the new headquarters of the Venezuelan Embassy in Washington is inaugurated, in which several of his works are placed: four great pedestrian figures in the Reception Hall. In the mid-1940s, he participated in the "Latin American Art Exhibition" at the Riverside Museum (New York), which brings together works by artists from Mexico, Ecuador and Venezuela. In 1942 he exhibited at Cornell University (Ithaca, New York, United States), and later this year he returned to Venezuela. In 1943 he exhibited 29 works at the Ateneo de Caracas. Rye begins at that time a series of local chiefs whose interpretation is not exclusively heroic, since it contributes to the "nativism" that dominated much of Latin American art at the time, a symbolic finish. In 1944 he opened the Estudio Centeno, a workshop of miniatures (later painting and drawing); He made three images for the chapel of the Santa Rosa de Lima School: Santa Catalina de Siena, Santo Domingo de Guzmán and Santa Rosa de Lima, and carried out what was supposed to be his first work in colored pencils. In 1946 he made drawings to illustrate the return to the homeland of Juan Antonio Pérez Bonalde and Canto a España by Andrés Eloy Blanco (published in the magazine El Farol) and painted a wall map for the BCV (in situ). In January 1947, at the Palacio del Libro (Caracas), the original oil paintings on the covers of the indigenist theme books by the writer Arturo Hellmunt Tello, Pariana indigenous legends and indigenous Legends of Lower Orinoco, are exhibited, among them. With Eduardo Francis, Carlos Otero and other painters and sculptors, Centeno promotes and founded the AVAPI, known as Los Independientes, to offer an alternative to the discrimination of jurors in the Official Hall. Until 1960, the association organized an annual hall without awards, medals or juries. After 1948 and the rise of Marcos Pérez Jiménez, who supported nationalist motives, Centeno played a leading role in the consolidation of a historical iconography. In 1951 he obtained the gold medal for his Olympic song of the olive tree and the fire in the poetry contest promoted on the occasion of the III Bolivarian Sports Games, and in 1953 his Song to the American man receives the first prize of the Arca del Sur Philosophical Literary Center from Montevideo. In 1954, its fresco was inaugurated in the National Capitol Shield Hall, designed in an area of ​​precise architectural boundaries. In 1955 the minting of a series of 12 gold coins with the images of chieftains designed by Centeno was announced, and the following year six new ones were added. In 1956 he began working on the project of the Military Circle of Venezuela, a large mural whose location in an enclosure almost as high as it was narrow forced him to face the problem of length, dividing the surface into three rectangles, each of them which demanded for itself an autonomous solution. In 1958 he painted a mural in the San Juan Bautista Church, in front of the Los Capuchinos Square; that same year he gave the Venezuelan delegation at the Chicago Pan American Games a drawing by the pianist Teresa Carreño for the Chicago Conservatory of Music. The works of his last years were made on board, following pre-Renaissance preparation techniques. In 1964, after 20 years without formally exhibiting, Centeno exhibits his Bullfighting series, collection of pencil drawings, Chinese ink and other materials at Acquavella Gallery in Caracas. Between 1966 and 1981 he participated in different samples, the most important being those made at Acquavella Gallery (1967), in which all the works were painted on black board; in the Il Caravaggio Gallery (Caracas, 1974), and in "Inquiry of the image (the figure, the scope, the object). Venezuela, 1680-1980. Thematic exhibition. First part" (GAN, 1980). In 1991, MACCSI gathered in a "Retrospective (1915-1988)", 200 of his works, including murals, paintings and drawings.

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Pedro Centeno Vallenilla

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