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PARIS — ROME — N.Y. — VENICE — MIAMI —  RIO —  BS.AS. — CÓRDOBA.

GALERIE ARIEL

I AVENUE DE MESSINE – PÁRIS VIII . 1950
50´

Instituto de Arte Moderno, Buenos Aires.
1952 – Galería Bonino, Buenos Aires.
1954 – Galería Kraid, Buenos Aires.
1956 – Galería La Tartaruga, Roma.
Aenlle Gallery, Nueva York.
Galería Bonino, Buenos Aires.
1959 – Museo Arte Moderno, Río de Janeiro.

GALERIE PAUL FACCHETTI

17 RUE DE LILLE – PÁRIS VII . 1966
60´

1960 – Galería Bonino, Buenos Aires.
1966 – Galerie Paul Facchetti, Paris.
1967 – Galería El Taller, Buenos Aires.
1968 – Instituto General Electric, Montevideo

KAPLAN RAVIGNAN GALLERY

121 W 27TH STREET NEW YORK
70´

1972 – Galería Carmen Waugh, Buenos Aires.
1974 – Galería Aele, Madrid.
Nacional Arts Center, Ottawa. Brickel Gallery, Miami.
1975 – Kaplan-Ravignan Gallery, Nueva York.
Estudio Actual, Caracas, Venezuela.
Knoll Internacional, Nueva York.
1976 – Galería Aele, Madrid.
Instituto Panameño de Arte, Panamá.
1977 – Galería Jacques Martinez, Buenos Aires.

LA BIENNALE DI VENECIA

REPRESENTING ARGENTINA . 1982
80´

1980 – Museo Emilio Caraffa, Córdoba, Argentina.
Galería Jacques Martínez, Buenos Aires.

1982 – Bienal de Venecia, representando a la Argentina. Galería, Jacques Martinez, Buenos Aires.
1986 – Museo Castagnino, Rosario, Argentina.
Museo Rosa Galisteo de Rodríguez, Santa Fe, Argentina.
Galería Jacques Martínez, Buenos Aires.
1987 – Galería Jacques Martínez, Buenos Aires.
1989 – Galería Jacques Martínez, Buenos Aires.

RETROSPECTIVE 1947 – 1997

CENTRO CULTURAL RECOLETA . BS.AS. 1997
90´

1990 – Galería Jacques Martínez, Buenos Aires.
Galería Jaime Conci, Córdoba, Argentina.
1992 – Centro Cultural de la Universidad de Tucumán, Arg. Galería Lagard, Buenos Aires.
1993 – Galería Niko Gulland . Galería El Socorro, Bs.As.
1996 – Galería Vía Magrutta, Córdoba.
Galería Niko Gulland, Buenos Aires.
Galería Tema, Buenos Aires.

1998 – Museo Castagnino, Rosario.
1999 – Van Eyck, Galería de Arte, Buenos Aires.

GALERÍA JORGE MARA

PARANÁ 1133 . BS.AS. 2003
00´

2001 – Museo Rosa Galisteo de Rogriguez, Santa Fe.
Invitado de Honor al 78º Salón de Artes Plásticas
Museo Municipal de Bellas Artes “Dr. Urbano Poggi”, Rafaela.
2002 – Casa de la Cultura, Pergamino, Argentina.
Centro Cultural Recoleta, Buenos Aires.
2003 – Galería Jorge Mara, Buenos Aires.
2006 – Galería Coppa Oliver, Buenos Aires
2007 – Sasha D. Espacio de Arte, Córdoba Teatro Real, Córdoba
2008 – Galería Coppa Oliver, Buenos Aires
Museo Bonfiglioli, Villa María, Córdoba.

Miguel Ocampo | Painter & Architect

Buenos Aires 29th Of November 1922 | La Cumbre 24th Of November 2015

Member Of De Academy Of Fine Arts

Miguel Ocampo’s dedication to painting started when at the age of eight he won the Alberto Guiraldes prize with a painting of the Argentinian countryside. After graduating as an architect from the University of Buenos Aires, he traveled to Europe for two years. His “revelation” was Piero Della Francesca, one of his first influences along with Klee, Braque, and Bonnard. He began his painting career with an individual show in the Galerie Ariel in Paris in March 1950, and that same year repeated that show in Buenos Aires.

At the request of the critic and poet Aldo Pellegrini, he exhibited his paintings in the gallery Viau with Fernandez Muro, Sarah Grillo, Alfredo Hlito, Enio Iommi, Tomás Maldonado, and Lidy Prati. It was an uncommon show at that time for the way it combined space and paintings.

 From 1955 to 1978 he served as a diplomat. His first destination was Rome (1955), then Paris (1961), and finally New York (1969). The style of his paintings through the years can be associated with a specific place.

Rome – 1955 To 1958 – Geometric

In the Roman phase (1955–1958) geometric forms prevail: circles, polygons, or lines are the forms with which he experiments at this stage. Architectural influence is evident in the composition of his canvases.

He returned to Buenos Aires, and in 1960 the Teatro Municipal General San Martín’s architects M.R. Alvarez y O. Ruiz commissioned for that theater a painting that he created in situ while the building was being constructed.

He participated in the San Pablo Biennale (in 1954 and 1961) and in the Venice Biennale (in 1958, 1962, and 1982).

Paris – 1960 To 1966 – Abstract Painting

The paintings of his Paris phase (1960–1966) are abstract, with combinations of saturated colors and recollected landscapes.

New York – 1969 To 1978

In New York (1969–1978) the theme of his paintings is the ambiguity between background and figures, with sensual forms that inspire two very different readings of the same painting.

In each diplomatic posting he established a painting dialogue with what surrounded him.

After his stays in Rome, Paris, New York, and Buenos Aires, the hilly locality of La Cumbre in the Córdoba province where he lived for almost forty years had a large influence on his paintings. Nature allowed him to observe the lights and shadows during different seasons or hours of the day, and he incorporated these observations into his paintings. The elements of the landscapes and the human or geometrical figures are not opposed but rather intermingle harmoniously. The figurative is fused with the abstract. As he used to say: “There is art in nature.”

OCAMPO PAVILION

Architect
SEBASTÍAN MARTÍNEZ VILLADA
Collaborators
MIGUEL OCAMPO
MARIANA LARCAMÓN
Advisors
Illumination: OSVALDO MAESTRE,
ARQ. Acústica: ALEJANDRO BORDOLINI, ING.
Structure : HUGO FERRERO, ING.
Landscape
SUSANA WITHRINGTON
Sup. cubierta:360m2 / Year: 2007

Destinado a preservar y exhibir la obra del pintor Miguel Ocampo, como aporte cultural a la localidad de La Cumbre, el edificio responde a un programa simple: una sala principal y otra menor, depósitos de cuadros, hall de acceso, secretaría, sanitarios, office y sala de máquinas. Inspirado en la escala de los pabellones de la Bienal de Venecia, adoptando la solución de iluminación combinada natural-artificial del museo Kirchner en Davos y adaptándose al terreno, el partido surge naturalmente como una “caja neutra” de planta trapezoidal con acceso excéntrico e iluminación cenital, apoyada por servicios periféricos y contenida en una caparazón brutal. La brutalidad del calicanto y el hormigón a la vista contrastan, deliberadamente, con la ligereza translúcida del lucernario, en un juego tecnológico que va de la tradición constructiva jesuita en el entorno cordobés, hasta la aplicación de elementos industriales actuales para administrar la luz y la acústica de la sala. Como resultado de este juego, se complementan lo opaco, que preserva tenazmente la obra contenida, y lo luminoso, que la exhibe en todo su esplendor.

PRIMERA MUESTRA

NOVIEMBRE 2017

SEGUNDA MUESTRA

AGOSTO 2008

TERCERA MUESTRA

MARZO 2009

CUARTA MUESTRA

DICIEMBRE 2009

QUINTA MUESTRA

JULIO 2010

SEXTA MUESTRA

DICIEMBRE 2010

SÉPTIMA MUESTRA

JULIO 2011

OCTAVA MUESTRA

MARZO 2012

NOVENA MUESTRA

NOVIEMBRE 2012

DÉCIMA MUESTRA

DICIEMBRE 2013

UNDÉCIMA MUESTRA

NOVIEMBRE 2014

DUODÉCIMA MUESTRA

DICIEMBRE 2015

DÉCIMA CUARTA MUESTRA
“LA FIGURA”

DICIEMBRE 2016
For Inquires:
WORK FOR SALE
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+54 03548-41907 / +54 9 3548 606714

 

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Sala Miguel Ocampo:
José Hernadez 630 – 5178 – La Cumbre, Córdoba, Argentina. 

 

JANUARY / FEBRUARY :
11 – 13 hs. – 17 – 20 hs.
MARCH / DECEMBER: 11 – 13 hs. – 15 – 18 hs

 

THURSDAY TO SUNDAY AND HOLIDAY
ALL IMAGES AND SITE CONTENT COPYRIGHT © 2017 MIGUEL OCAMPO – ALL RIGHTS RESERVED
SALAOCAMPO@GMAIL.COM