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The MNCARS, which already had in its collection two works by Cordovan painter Rafael Botí, (De la sierra de Córdoba, 1922 and Bodegón de los papel, 1928), incorporates in 2019 the pictorial works El Bidasoa in Fuenterrabía I, 1925 and Trees of the Botanist (Madrid), 1933.
In 1935, the Spanish State acquired Botí’s painting, De la sierra de Córdoba (also called the Cursed House), which obtained a mention in the National Exhibition of Fine Arts of 1924 and was awarded in 1929 in the Regional Exhibition of Modern Art from Granada.
Subsequently, the son of the painter, Rafael Botí Torres donated to the Reina Sofía Museum -in 2002- Still life of the papers, dated in 1928.
As Jaime Brihuega assures, due to the avatars of his extensive biography, the figure of Rafael Botí from Cordoba runs parallel to the entire Spanish art course of the 20th century.
From its beginnings in Córdoba under the teaching of Julio Romero de Torres until the outbreak of the civil war in 1936, Botí participates decisively in the process of renovating the Spanish plastic of the first third of the last century. From these years the two paintings that the painter’s son has recently donated to the collection of the Reina Sofía National Center of Art Museum date back.
During the 1920s, of which the painting El Bidasoa in Fuenterrabía I (1925) is a good example, his style, in the words of Paloma Esteban, curator of the Reina Sofía Museum, is configured in a personal way thanks to the use of a Increasingly defined chromaticism and an aesthetic based on the teachings of Cubism by Vázquez Díaz, which in this same composition are revealed both in the colorful and formal structuring as well as in the subject itself, so dear to the Huelva painter.
When in 1929 and in 1931 he traveled to Paris, retired by the Diputación de Córdoba, Botí came into contact with the latest avant-garde movements, as well as with many of the Spanish painters of the so-called School of Paris. Get to know firsthand the creations of the Fauvists and the Nabis, plastic experiences that, in the opinion of the conservative, materialize in later compositions such as the second of the works object of these lines, Botanical Trees (Madrid) (1933), which highlights the color and originality in the vision. Both works, of relevance in the trajectory of Rafael Botí, reinforce the production of the Cordovan artist in the collection of the Reina Sofía Museum.
ABOUT RAFAEL BOTÍ
Cordovan Rafael Botí diversified his studies from a young age, learning drawing with Julio Romero de Torres at the School of Arts and Crafts in Córdoba, modeling with Victorio Chicote, Art History with Ricardo Agrasot, and music at the Superior Conservatory with Cipriano Martínez Rücker . In 1917 he moved to Madrid, perfecting his learning both at the San Fernando School and the Higher Conservatory of Music and joining that same year of the Philharmonic Orchestra of Madrid, and in 1930 of the National Orchestra of Spain.
From 1918 he attended as a disciple the workshop of Daniel Vázquez Díaz, celebrating his first individual exhibition in 1923, in the Circle of Friendship. In 1931, from the Association of Plastic Artists Guild, of which he is co-founder, he contributes to the promotion of a vanguard manifesto in order to renew national artistic life. In 1980 the Ministry of Culture granted him the Silver Medal for Merit in Fine Arts, an award that would be followed in 1992 by the award of the Special Jury Prize at the National Plastic Arts Awards. In 1998, the Diputación de Córdoba constituted the Rafael Botí Provincial Foundation of Plastic Arts.