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      "body": "@@ -5050,26 +5050,23 @@\n do, \n-pero luego de esto\n+ tiempo despu%C3%A9s\n  cad\n",
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      "author": "danielarndn",
      "body": "### <center>Hola querida comunidad Steemiana espero estén genial♥</center>\n\n<br>\n\n<div class=\"text-justify\">En la universidad vi una materia que se llama \"Historia del Arte Venezolano\" y como exposición final hable sobre el Círculo de Bellas Artes de Caracas  y quiero compartir un poco de eso con ustedes ya que  fue un tema que me gusto mucho.</div>\n\n<center>https://cdn.steemitimages.com/DQmWP1RMMyRRb9yydV9oH3QZ9PpaTaxohCwKAHwFBiReqCC/CirculoBellsArtes_2.png</center>\n<center>[Fuente](http://blogdeirissanseg.blogspot.com/2013/10/circulo-de-bellas-artesde-venezuela-1912.html)\n\nIntegrantes del Círculo en el Taller ,  practicando el Desnudo Artístico</center>\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n**Primero quiero explicar ¿Cómo surgió o como se originó el circulo de bellas artes?**\n\n\n<div class=\"text-justify\">Bueno, tuvo su origen en la protesta que estalló en el año 1909 por unos jóvenes artistas que estaban en contra de los métodos de enseñanza que eran aplicados por el en ese entonces director de la Academia de Bellas Artes de Caracas (Venezuela) “Antonio Herrera Toro”. </div>\n\n<br>\n<div class=\"text-justify\">Cabe mencionar,  que es una asociación artística de comienzos del siglo XX, por jóvenes pintores, periodistas, escritores, poetas, músicos, entre otras personas vinculadas al arte. </div>\n\n<br>\n<div class=\"text-justify\">Se puede decir, que la pintura del Círculo de Bellas Artes posee características que son propias del movimiento impresionista, así mismo las obras representadas por los integrantes del grupo  serán de temática paisajista.</div>\n\n<br>\n<div class=\"pull-left\"><center><img src=\"https://cdn.steemitimages.com/DQmcmue5xWbJMVMp4y6LpfPngkCCfzrAtdVfrA4rFTbC5Fx/MANUEL%20SEGUNDO%20SANCHEZ%20SANTIAGO%20KEY%20AYALA%20JULIO%20PLANCHAR%20ANTONIO%20EDMUNDO%20MONSANTO%20SAMYS%20MUTZNER%20MANUEL%20CABRE%20FEDERICO%20BRANDT%20Y%20ENRIQUE%20PLANCHAR%201918.jpg\"/><a href= \"http://katherinechacon.blogspot.com/2016/04/cronologia-del-arte-venezolano-1911-1920.html\">Fuente</a></center></div>\n\n<div class=\"text-justify\">Es importante mencionar, que el hecho más importante en la vida del Círculo ocurre con la llegada a Caracas de dos pintores impresionistas. Samys Mützner y Nicolás Ferdinandov, ya que la presencia de estos dos artistas en Caracas ayudó a orientar las búsquedas y ensayos de los artistas del Círculo que, por escasos conocimientos de técnica impresionista, no lograban definirse en el estilo paisajístico, hacia el cual tendían los experimentos entonces, ya que para ellos era algo nuevo que nadie les estaba enseñando.</div>\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n\n**Es así como nace el Círculo de Bellas Artes de Caracas Fundado el 3 de septiembre de 1912 como una confrontación a la enseñanza del arte de esa época.**\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n<div class=\"pull-right\"><center><img src=\"https://cdn.steemitimages.com/DQmQbnawh3cAQRUSFy6qAyorYdadbi2z5aRxUFVtSXAnyks/PRIMER%20SALON%20DEL%20CIRCULO%20DE%20BELLAS%20ARTES%201913.jpg)\"/><a href= \"http://jesusrafaelmoralesruiz.blogspot.com/2013/03/el-circulo-de-bellas-artes-en-en-marco_31.html\">Fuente</a></center></div>\n<div class=\"text-justify\">Al principio  establecieron su sede en un local del abandonado Teatro Calcaño, en Caracas. Aquí se organizó un “taller libre”, sin programas, ni profesores, Aquí los miembros inscritos en la asociación abonaban mensualmente para los gastos de mantenimiento. Asi mismo, Antonio Edmundo Monsanto y Manuel Cabré, quienes junto a Leoncio Martínez fueron los grandes promotores de la agrupación. De mucha amplitud, poco selectivo, de este Salón sin premios ni jurados se hicieron tres ediciones entre 1913 y 1915. </div>\n<br>\n\nEl Programa del Círculo Expresaba:\n\n>  “pueden pertenecer a él todos aquellos que por amar a la belleza elevan su espíritu sobre el nivel común de las gentes. Quien quiera, profesional, estudiante o aficionado, tendrá franca acogida en el seno de la Asociación, sin que se lo impida el estar ya inscrito en otro grupo, academia, ateneo o escuela, ni las tendencias de sus ideas en materia de arte”. \n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n<div class=\"text-justify\">Despúes de un tiempo,  el Círculo se vio precisado a trasladar su sede a un modesto lugar situado en el barrio de Pagüita en Caracas, que recibiría el apodo de “El cajón de monos”.  Ya que era un local muy pequeño, Aquí practicaron por primera vez dibujar desnudos con una modelo real, poco después, la policía de Juan Vicente Gómez allanó el local, alegando que en él se celebraban reuniones políticas, y se pintaban obscenidades...  y varios de ellos, como Cabré, fueron a dar a la cárcel, y el Círculo, sin asistencia económica, golpeada su unidad, pero cumplidos sus objetivos esenciales, desapareció como agrupación.</div>\n\n<br> Luego de esto, se reunieron periódicamente en un local prestado, pero luego de esto cada quién tomo su camino como artista.\n\n<div class=\"text-justify\">Entre los principales personajes que formaron parte de dicho grupo o círculo figuran Manuel Cabré, Leoncio Martínez, Armando Reverón, Rafael Monasterios, Antonio Edmundo Monsanto, Luis Alfredo López Méndez, Federico Brandt entre otros, así como  Rómulo Gallego y Andrés Eloy Blanco. </div>\n<br>\n\n\n#### Luego de hablar un poco de la historia del Circulo de Bellas Artes quiero mostrarles algunas de las obras de los artistas mas representativos de este Circulo.\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n\n##### Federico Brandt. 1878-1932 \n<br>\n\n<div class=\"pull-left\"><center><img src=\"https://cdn.steemitimages.com/DQmP3AaZFq89uJferPh3CJz4o1ULki8zsTnGXc2PWvsaURc/BrandtCasanovaFederico_FotoArtista.jpg\"/><a href= \"http://vereda.ula.ve/wiki_artevenezolano/index.php/Brandt,_Federico\">Fuente</a></center></div>\n<div class=\"text-justify\">Brandt fue, de todos los artistas que participaron en el Círculo, el que más vivenció en su pintura la experiencia de la casa. “La casa como cuadro” se convirtió en principal objeto de contemplación y en la imagen básica de sus obras.  El pintor construyó en el lienzo los diversos planos de sus “interiores” donde muestra los objetos más íntimos: la cama, la mesa, los cuadros, los pinceles. Brandt tiene predilección por el paisaje del valle de Caracas y por sus motivos arquitectónicos, cuyas formas y colores sale a pintar al aire libre, siguiendo la disciplina iniciada en Venezuela por los integrantes del Círculo.</div>\n\nhttps://cdn.steemitimages.com/DQmQpYGNkrUwbtDyMuAuK7v2KrArrBt2TGVzfVDoKhU9pS8/846400-separador-blanco.png\n\n<center>https://cdn.steemitimages.com/DQmTojCyB1AwGKA3tbMp8uFXpZ47wVsCpn8u5miACJ5NCuV/image.png\nInterior con mecedora, 1931. Óleo sobre cartón 46,8 x 35cm\nColección Fundación \nGalería de Arte Nacional.\n</center>\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n\n<center>https://cdn.steemitimages.com/DQmaA27C5V3kZKqrps2cvsd2F9JKyqF1GYSVWg1Xy69y6ks/image.png\nTechos de Caracas, 1928 Oleo Sobre tela 83,6 x 62,6cm \nColección Fundación \nGalería de Arte Nacional.</center>\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n##### Manuel Cabré. 1890-1984 \n<br>\n\n<div class=\"pull-left\"><center><img src=\"https://cdn.steemitimages.com/DQmXuuWfnDyhawfBQDdKSRu9E38swKJMhMgNQAPGSyLnfT5/ACQ-Manuel-Cabre.jpg\"/><a href= \"http://acquagal.com/collections/local-artists/manuel-cabre/\">Fuente</a></center></div>\n\n<div class=\"text-justify\">Para Cabré El Ávila , se convierte desde entonces, a excepción de algunos paisajes andinos realizados en 1960, en el único tema de su pintura. Su paleta se enriquece de colores: amarillos, verdes y azules, y su obra se vuelve más panorámica.</div>\n\nhttps://cdn.steemitimages.com/DQmQpYGNkrUwbtDyMuAuK7v2KrArrBt2TGVzfVDoKhU9pS8/846400-separador-blanco.png\n\n<center>https://cdn.steemitimages.com/DQmP2AAce8Dr3hYtB3tU8UCFauKGCED8fVeqDQoYFSsDRVD/image.png\n[Fuente](http://globovision.com/article/hoy-es-el-natalicio-de-manuel-cabre-el-pintor-del-avila)</center> \n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n<center>https://cdn.steemitimages.com/DQmcyuhaUQjyJAtkivPN1qL2TiNUuz1egG9o57bqckKNjT6/image.png</center>\n\n\n[Fuente](http://globovision.com/article/hoy-es-el-natalicio-de-manuel-cabre-el-pintor-del-avila)\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n\n##### Rafael Monasterios. 1884-1961 \n<br>\n\n<div class=\"pull-left\"><center><img src=\"https://cdn.steemitimages.com/DQmP6Np2dqQVp1kj1f5U4LAiSrCFw7KRn2aAGnt4yY2aERR/image.png\"/><a href= \"http://vereda.ula.ve/wiki_artevenezolano/index.php/Monasterios,_Rafael\">Fuente</a></center></div>\n\n<div class=\"text-justify\">Los cuadros de Monasterios son pinceladas, toques precisos en los que el color construyó un paisaje: árboles azules, calles de nuestros pueblos donde la soledad se pasea cotidianamente, campos y tierras visitados; todos ellos son el reflejo de una calle alegría y nostalgia fijada con el valor de las tonalidades del color.</div>\n\n\nhttps://cdn.steemitimages.com/DQmQpYGNkrUwbtDyMuAuK7v2KrArrBt2TGVzfVDoKhU9pS8/846400-separador-blanco.png\n\n<center>https://cdn.steemitimages.com/DQmYo7KXdvTrC9TpHJ1r4ctLn6pkngCGGmknA8akcVXR9ff/image.png</center> [Fuente](http://elizabeth-vocesdelsilencio.blogspot.com/2012/06/maria-clara-salas.html)\n<center>Los Caobos 1924 Óleo sobre tela 67 x 49 cm \nColección Fundación\nGalería de Arte Nacional</center>\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\nhttps://cdn.steemitimages.com/DQmQ4TFKTvSGDKppqjQQRwcNJvGvEe9snvk9AyNpzaMrZvo/image.png\n[Fuente](http://vereda.ula.ve/wiki_artevenezolano/index.php/Monasterios,_Rafael)\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n##### Armando Reverón.1889-1954 \n\n<div class=\"pull-left\"><center><img src=\"https://cdn.steemitimages.com/DQmaXowkRiDqZE7th3fSJtdn3TsR87NkHPExPouMCzFxDde/image.png\"/><a href= \"https://es.wikipedia.org/wiki/Armando_Rever%C3%B3n\">Fuente</a></center></div>\n\n<div class=\"text-justify\">Tras la llegada de Ferdinandov y Boggio, en 1919, La pintura de Reverón va a reflejar un profundo cambio. La influencia de Ferninandov  puede observarse en la estilización del dibujo y en las atmósferas en gamas de azules, donde comienzan a aparecer sus primeros elementos fantásticos, como vemos en “La Cueva” 1920, obra que evoca el misterio de una profundidad submarina. en Cambio de Boggio aprenderá la manera empastada de aplicar la materia pictórica.</div>\n\nhttps://cdn.steemitimages.com/DQmQpYGNkrUwbtDyMuAuK7v2KrArrBt2TGVzfVDoKhU9pS8/846400-separador-blanco.png\n\n<center>https://cdn.steemitimages.com/DQmS7kLHxS8FFDum9WQaUHXW6ushKm26xCyrgBDRfHZ2CqV/image.png</center>\n<center>[Fuente](http://escritosdeunsalvaje.blogspot.com/2011/08/la-obra-de-armando-reveron.html)\nLa Cueva 1920</center>\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n<div class=\"text-justify\">A partir de 1923 Reverón comienza a explorar a fondo los misterios de la luz. Realiza una serie de paisajes en los cuales su paleta se va despojando gradualmente del color, incluso del azul de sus obras anteriores, poco a poco sustituido por el blanco.</div>\n\n<center>https://cdn.steemitimages.com/DQmaWxxPh6hrytjCiP5ZfgUkTypPLHmJk73GGNeGJMFWVdo/image.png</center>\n<center>[Fuente](https://www.wikiart.org/en/armando-reveron/cocoteros-en-la-playa-1926)\nCocoteros en La Playa 1926</center>\n\n<div class=\"text-justify\">A partir de 1946 deja el temple y la aguada. Prepara sus propias materias pictóricas, tizas, carboncillo, papel estraza, e inicia el período sepia. Las obras de este período son de una gran riqueza gráfica. Su paleta se torna ocre y la temática corresponde a una serie de autorretratos, desnudos y dibujos.</div>\n\n<center>https://cdn.steemitimages.com/DQmbAJq5ufZR5AgQXyvrREGvzJgiQSpdQGMChNkBSCiZaPH/image.png</center> [Fuente](http://vereda.ula.ve/wiki_artevenezolano/index.php/Rever%C3%B3n,_Armando)\n<center>Autorretrato con pumpá. 1948</center>\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n\n##### Luis Alfredo López Méndez .1901-1996\n<br>\n\n<div class=\"pull-left\"><center><img src=\"https://cdn.steemitimages.com/DQmQopay5X1ZfrrAgaRTpYmkUCnv4ac9XWZ2ZJUH6P1kQrw/image.png\"/><a href= \"http://vereda.ula.ve/wiki_artevenezolano/index.php/L%C3%B3pez_M%C3%A9ndez,_Luis_Alfredo)\">Fuente</a></center></div>\n<br>\n\n<div class=\"text-justify\">Fue el más joven de los integrantes del Círculo. Desde su etapa en esta agrupación. Ha ensayado en su pintura una gran variedad de temas, entre ellos la naturaleza muerta, el paisaje, el desnudo y el cuadro de género. Utiliza la pincelada corta y la yuxtaposición de colores complementarios y descarta el dibujo aplicado, las tonalidades oscuras y las veladuras de efecto fácil que otorgaban  a sus primeras obras un carácter todavía escolar.</div>\n\nhttps://cdn.steemitimages.com/DQmQpYGNkrUwbtDyMuAuK7v2KrArrBt2TGVzfVDoKhU9pS8/846400-separador-blanco.png\n\n<center>https://cdn.steemitimages.com/DQmcvZUnohvT2jrpzzN3Z7Zm2CrRC1MnLJc8Ltkqztszc9e/image.png</center>\n<center>[Fuente](http://vereda.ula.ve/wiki_artevenezolano/index.php/L%C3%B3pez_M%C3%A9ndez,_Luis_Alfredo\n) \nLa pesca. 1979. </center>\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n<center>https://cdn.steemitimages.com/DQmbEfmqm4Lk9oMedvMRNzpUFA6xVui19ejfYetZjLnERDQ/image.png</center><center>[Fuente](http://vereda.ula.ve/wiki_artevenezolano/index.php/L%C3%B3pez_M%C3%A9ndez,_Luis_Alfredo)\nPlaya. 1985.</center>\n\nhttps://cdn.steemitimages.com/DQmakHmCtFJou8dVRWWLf4BdUnsWvQZ2k3UtBrCMGQ1ovSn/23syuqg.jpg\n\n\nEs asi como los protagonistas de este Circulo escribieron un capítulo inédito en las artes plásticas en Venezuela ya que innovaron la forma de entender el oficio de pintor en un sentido estéticamente más comprometido y de signo profesional.\n<br>\n\t<div class=\"text-justify\">De igual manera lograron introducir vida a nuevos géneros, antes poco cultivados o venidos a menos en tiempos de la República, como la naturaleza muerta, el desnudo, las artes aplicadas, el diseño, el dibujo, otorgándoles categoría autónoma y rompiendo con las enseñanzas recibidas de sus maestros de la Academia Nacional de Bellas Artes, y en rebelión contra sus principios, los protagonistas del Círculo se aventuraron, en contacto directo con la naturaleza, los signos, colores y formas de nuestra realidad, en armonía con el pensamiento,  literatura y  carácter venezolano.</div>",
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