the history of Venezuela in the paintings and stained glass windows

0


To the extent that the place incorporated lights and colors, he spent eight to 10 hours including brushes, palettes, books, and old photos. His life was one space, and his office of chronicler quiet of Venezuela.

Some years ago, challenged by a child of the duration of that enterprise, he responded with another question: how long do you think that I have been arrested? The small said that a century. Chepín has not denied and has told him that he had been a pupil of the great Italian master michelangelo creator of the Sistine Chapel.

The defenders of the earth, the air and the water

The genesis of the historical journey is the legend of Amalivaca, which, according to the mythology of the indigenous peoples of venezuela tamanaco, was the principal culture hero and the creator of the world and of men.

The myth, enriched with the passage of time, joins the Orinoco River, the great flood, the deity with powers omnímodos and the departure of Amalivaca in a canoe to flight, after having created humanity, and the wind.

The attention to shots Chepín continue with the arrival of the conqueror, the genoese Christopher Columbus in the americas. The drawings tell of the arrival of the three caravels, the lack of respect for the indigenous women and the massacre of the native peoples, who could not prevent the gods Inti, of the fire; Yara, of love and fertility, and Jaguar, War.

‘The present value of the Mythological Gods and goddesses aboriginal people in their struggles ancestral reincarnated in Guaicaipuro and strategist, who, like the steel is just bent and tempered his spirit, by the burning of a fire (?) To them we owe the ideas and principles of the freedom monument and the heritage of Citizenship,” reads one of the walls of the Room of the House.

They appear, moreover, reflects the brave Tamanaco, two years after the death of the cacique and war chief Guaicaipuro, he continued as leader of the tribes of Mariches, and Quiriquires and took his death, with the struggle of resistance against the Spanish conquest in the SIXTEENTH century.

While referring to Guacaipuro and Tamanaco, Chepín written on a stone at the foot of the tribe ” defended heroically to the very land under our feet, the pure air of freedom, and the crystal clear water of life. Recordémosles, honor them, and amémosles as heroes, the aboriginal people of our nationality, and as a heritage and a tribute to their eternal memory: his blood heroic is still running through our veins and beats in our hearts.’

Therefore, the work of Chepín also represented the dominican Friar Bartolomé de las Casas, the defender of the indians, and to whom is attributed the idea of bringing the lands colonised slaves from Africa.

A mural is an open book

Another exhibition in the chapter of emancipation, the battles and the protagonists of the NINETEENTH-century venezuelan. Collects, also, the dismissal of Vicente Emparan, the Captain General of the south american nation in the month of April of 1810. Almost a year after, took place the signing of the Declaration of Independence and the constitution of the First Republic.

On the 26th of march, 1812, holy Thursday, an earthquake, up to 48 seconds of duration, has caused the death of 10 thousand people. The tragedy is symbolized by the image of a church and the clerics around the holy place, attributing the phenomenon to a divine punishment for the uprising against the command of Spanish.

The First Republic succumbs, and the Liberator Simón Bolívar, represented on a rock on the work of the painter, he says, “If nature opposes, we will fight against them to make them obey us’.

The speech of Angostura is one of the epochal events that elder Ephraim shall not forget. Piece of oratory, uttered by Bolívar refers to the integration and the need to forge, in the liberated peoples, a system that can guarantee the maximum amount of happiness possible, the security and political stability. Then came the era of the great struggles: the Battle of Boyacá (1819), Carabobo (1821), Junin (1824), Ayacucho (1824) and the naval battle of Lake Maracaibo and sunk in Venezuela, the Spanish power’.

The strong figure of simon Bolivar, Marshal of Ayacucho, Antonio José de Sucre, and another of the precursors of american independence, Francisco de Miranda, are positioned in the walls of the main room of the Home, including the horses, the dust, scars, and other men not less brave and determined.

The six columns of the place, located in the south of the american capital, is guarded hymns, coats of arms and flags of the six territories that have helped liberate the Bolivar, the current nations of Bolivia, Colombia, Ecuador, Panama, Peru and Venezuela.

As the culmination of this process of struggle for sovereignty and freedom emerges filled with light, the leader Hugo Chavez, also represented by the brushes of the artist.

Below, on the great wall, the country has the natural wealth and the progress of the socialist revolution, guided by the singular leader of a bolivarian and then continued by president Nicolas Maduro.

The heroines and the lack of

The women, according to the artist, represent the south american nation, also occupy one of the rooms. Although it would be impossible to collect in a limited amount of space for the greatness of women and their participation in the events that have defined the course of that country, Chepín not bring out the details.

The walls of the room dedicated to them to show the anguish, the humiliation and the pain of the indigenous and black slaves, both in the collection of the coffee in the Plaza mayor, where the torture, they were both naked and flagelaban. The teacher captures, in addition, the footprint of Ana Maria Campos and Luis Caceres de Arismendi, the figures which are indispensable for the independence of Venezuela.

One of the most recent projects of the artist, was the stay of persecuted, arrested, tortured, dead and missing of the Fourth Republic (1959-1999).

“Young people need to know the history of five decades ago, when it was ruled by Juan Vicente Gómez, Marcos Pérez Jiménez, Democratic Action and COPEI. It was the era of the dictatorships, disappearances of students, political leaders and teachers,” he says.

The space is characterized by a set of techniques and trends, structures similar to a dungeon, and the tools used in torture, such as chains, nails, wheels, among others. “Your sacrifice was not in vain. Pretend enaltecerlos for the new generations to know their heritage and to value the privileges the present as social justice, love, peace, freedom, decent housing, education, health, work and security”, he added.

The child who dreamed of being a painter

Efrain Lopez was born in a small town in the venezuelan state of Guarico, on the plain, more than eight decades. The child loved to draw on the walls and the ground with coals. Crushed leaves and flowers to create different types of dyes and dreamed of becoming a painter of stories, saints and battles.

‘Chepe, I said to my father, I’m going to send to Caracas to study painting at the Academy of Fine Arts and later will go to study in Europe. He died when I turned 16 years old,” the artist recalls.

Note that a year after having met 100 bolivares (the currency of Venezuela), and went to the capital to find a job and study.

I had to tuck newspapers, cardboard boxes and sleeping on the place de la Concorde. Some time later I found a job in Vepaco, I enrolled at the Academy of Fine Arts and received a scholarship to continue my education in Italy, in Rome, he was told.

Upon his return, he tried recognized venezuelan painter Don Tito Salas and Pedro Centeno Ballenilla and then worked in the Army, in the School of Artillery, and Armored and carries more than 56 years of work in the Armed Forces.

There was where he met Chavez, who was his friend for more than 35 years and described him as a man who loved art, history, metaphysics, and philosophy. At that time, I have given lessons on some of these issues,” he recalled.

For the leader of solidarity, the Beauty of the Homeland is a sacred temple, where the Chepín and realized that, three days after assuming the presidency, called the artist and gave him the mission to welcome those who visit this site.

‘There are many things to do to Chavez. He left us a plan in writing and registered. It is a commitment that I have with him,'” he said.

He added that for the Latin american School of Medicine, which is located in Havana, was a mural commissioned by the historic leader of the cuban revolution, Fidel Castro.

‘Know that giant, it was amazing to me,” he confessed to the singer said: “I am a painter, every day I feel more human, more humble and more committed to the great fatherland, and humanity’

Cuba was of the opinion that ” The caribbean nation is a great example to the world. Never able to be with her and her Revolution, because they are a people full of love, detachment and awareness.

How much of Hugo Chávez has always said: ‘Chepín, I can’t be everywhere, so that when you arrive to the cubans that you get, the mandi, and thanks to them my name. It was my mission, the mission of a child who dreamed to be a painter,” he concluded.

*Journalist of Prensa Latina Television.

rr/dgh