A DR I A N V IL L ETA ROM A N T IC PORT R A IT IST GU ES T CU R AT ED by GLOR I A VA N DER BILT
H U N T S V I L L E MUS EU M of A RT F EBRUA RY 2 –M AY 4 , 2 01 4
THIS PROJECT IS MADE POSSIBLE IN PART BY: CYNTHIA AND REY ALMODÓVAR • DONNY’S DIAMOND GALLERY DUNAGAN, YATES & ALISON PLASTIC SURGERY CENTER FINERY • IN BLOOM
Nydia ( 1995 )
DIR EC TOR ’ S FOR E WOR D
A YEAR AND A HALF AGO, Gloria Vanderbilt introduced me to a friend of hers, the celebrated Puerto Rican artist, Adrián Villeta. Adrián was in New York City attending the benefit that Gloria and 1stdibs gallery were hosting for the Huntsville Museum of Art. At the post-opening dinner, at Manhattan’s storied Four Seasons Restaurant, Adrián shared his aesthetic and artistic vision as a photographer and artist working in a style that captures a visual sense of a bygone era. At the time, I noted that Adrián’s work embodies the pure essence of “beauty for beauty’s sake,” and his portraits give us a glimpse into a romantic world that “once was”—a world to which some of us long to return.
His works take you to another time and place and deliver a beauty and emotional connection that are truly unique. We are delighted that, thanks to that event in NYC, the works of Adrián Villeta will be enjoyed by many here in the South. And, of course, who better to curate a show of this nature than the artist, author, designer, visionary and friend, Gloria Vanderbilt?
Christopher J. Madkour Executive Director Huntsville Museum of Art
T H E WOR K of A DR I A N V IL L E TA
IT IS INTIMATED THAT THE ARTIST DOESN’T SEE THINGS AS THEY ARE, he sees things as he is. The artist’s life is desolate and dangerous and in the words of Camus:
“ A man’s work is nothing but this slow trek to rediscover, through the detours of art, those two or three great and simple images in whose presence his heart first opened.” Let yourself be drawn into these images where you will find the heart of Adrián Villeta—and in so doing discover a magical world—a kingdom heralding not only the beauty of men and women but revealing their most cherished hopes and dreams. And in so doing perhaps discover secrets about yourself.
Gloria Vanderbilt New York, NY
Gloria Vanderbilt ( 2004 )
DEDIC AT ION THIS PHOTOGRAPH OF MY MOTHER, CARMEN, which I took 30 years ago, represents the beginning of my career as a portrait artist. Early on, my beloved mother encouraged my passion for the arts. She was a woman of great faith and intelligence, a woman for others, and a teacher who was revered by her students.
Her continual encouragement gave me the strength to persevere and to pursue my life’s passion. Throughout her life, her beauty of spirit was an inspiration not only to her ten children, but also to those who were fortunate enough to call her friend. She will forever be the butterfly in my garden.
AC K NOW L ED G M EN T S AS A PORTRAIT ARTIST, I HAVE ATTEMPTED TO REMAIN TRUE TO WHO I AM and to avoid making compromises that would detract from the essence of how I choose to portray my unique vision of the world. After three decades of work, I want to pause and express my sincere gratitude to those who have inspired me and who have been a source of never-ending support. From the beginning of my career, Mili Arango, the Puerto Rican fashion designer, was a kindred spirit who shared with me her love of poetry and art. I also learned much from Annette Polan, my drawing and painting instructor at the Corcoran College of Art and Design in Washington, DC. I am enormously grateful to my dear friend, Gloria Vanderbilt, who has graciously agreed to serve as guest curator for this exhibition. I remember my first photo shoot with her in a suite at El Convento Hotel in Old San Juan, Puerto Rico. On that particular day, I was quite nervous thinking, “Here I am taking a photo of Gloria Vanderbilt, an icon of beauty, style, and art.” When I knelt in front of her to adjust her gown, I revealed to her how anxious I was. She replied simply, “Don’t worry, I am here for you.” Nydia Caro, my “doll with the witching eyes,” has been my muse. Her inspiration has helped me to enter a world of fantasy where the “fairies” became my guide. Thanks are also due to the Villeta Trigo family, in particular to my brother, Ricardo; to my sister, Magdalena; and to her son, Luis Gerardo, for their encouragement throughout this journey. I am also profoundly grateful to my brother, Ignacio, who has ably managed all aspects of this exhibition from New York City and who has always understood how important art is to my life. For years, Emilio Olabarrieta and Julio Cintrón, founders of Arquetipo, Inc., the premier floral and event design firm in Puerto Rico, have helped me create fanciful images by designing beautiful arrangements for my photographs. My friend, Kevin John Doherty, has devoted countless hours to designing the exhibition’s announcement card and catalogue as well as my website. His singular vision has been a gift. I am indebted to Christopher Madkour, Executive Director of the Huntsville Museum of Art, for affording me the opportunity to present my work. Director of Curatorial Affairs Peter Baldaia has been invaluable in coordinating the exhibition and Communications Director Stephanie Kelley and the other staff at the museum have also been of enormous help. And finally, I want to thank God who enabled me to become a creator of visual poems. As my mother always said, “Gracias Dios mío, gracias te doy por lo que tengo y por lo que soy, y gracias por el dia de hoy.” (Thanks be to God for all that I have and all that I am, and thanks for this day.)
Adrián Villeta San Juan, PR
L IST of WOR K S
1. L e Petit Trianon ( 2007 )
8. C ordelia ( 1997 )
14. R ose ( 1996 )
b/w negative on
b/w negative
b/w negative
hand-painted digital C print
on sepia-tone print
on sepia-tone print
70˝h x 53.5˝w
hand painted on fiber paper
hand painted on fiber paper
20˝h x 23˝w
23˝h x 20˝w
2. P rintemps ( 2006 ) b/w negative
9. A Mother’s Love ( 2006 )
15. M ademoiselle ( 1997 )
on hand-painted digital C print
b/w negative
b/w negative
61 1/2˝h x 38 1/2˝w
on sepia-tone print
on sepia-tone print
hand painted on fiber paper
hand painted on fiber paper
20˝h x 23˝w
23˝h x 20˝w
3. N astasya ( 2000 ) b/w negative on hand-painted digital C print 61 1/2˝h x 38 1/2˝w
4. L e Jardin ( 2004 ) b/w negative
10. M arifé ( 1995 )
16. D eidre ( 1996 )
b/w negative
b/w negative
on sepia-tone print
on sepia-tone digital print
hand painted on fiber paper
on watercolor paper
23˝h x 20˝w
29˝h x 24˝w
on hand-painted digital C print 61 1/2˝h x 38 1/2˝w
5. L a Belle Epoque ( 2006 ) b/w negative on hand-painted digital C print
11. L a Vie en Rose ( 1995 ) b/w negative
sepia-tone digital print
on sepia-tone print
on watercolor paper
hand painted on fiber paper
29˝h x 24˝w
23˝h x 20˝w
61 1/2˝h x 38 1/2˝w
18. T he Face Behind the Lace ( 2012 ) 12. N ydia ( 1995 )
6. M aria Georgina ( 2007 ) b/w negative on hand-painted digital C print 47˝h x 40 1/2˝w
17. C hristian ( 2013 )
sepia-tone digital print
b/w negative
on watercolor paper
on sepia-tone print
29˝h x 24˝w
hand painted on fiber paper 23˝h x 20˝w
19. F airy ( 1986 ) b/w negative
7. P rincesa ( 2008 ) b/w negative on hand-painted digital C print 47˝h x 40 1/2˝w
13. P oupée ( 1996 )
on sepia-tone print
b/w negative
hand painted on fiber paper
on sepia-tone digital print
29˝h x 24˝w
on watercolor paper 23˝h x 20˝w
L IST of WOR K S
20. T he Baron ( 2013 )
27. C irene ( 2002 )
34. F lora ( 2012 )
sepia-tone digital print
b/w negative
sepia-tone digital print
on watercolor paper
on sepia-tone digital print
on watercolor paper
35 1/2˝h x 29˝w
on watercolor paper
35 1/2˝h x 29˝w
23˝h x 20˝w 21. B lack Rose ( 2012 ) sepia-tone digital print
35. W allis ( 2011 ) 28. G regory ( 2013 )
sepia-tone digital print
on watercolor paper
sepia-tone digital print
on watercolor paper
35 1/2˝h x 29˝w
on watercolor paper
35 1/2˝h x 29˝w
23˝h x 20 ˝w 22. D ark Angel ( 2013 ) sepia-tone digital print
36. A ngelica ( 2004 ) 29. Z oila ( 2011 )
sepia-tone digital print
on watercolor paper
sepia-tone digital print
on watercolor paper
24˝h x 29˝w
on watercolor paper
23˝h x 20˝w
29˝h x 24˝w 23. A ria ( 1984 ) b/w negative
37. C ecilia ( 2013 ) 30. S onia ( 2004 )
sepia-tone digital print
on sepia-tone print
b/w negative
on watercolor paper
hand painted on fiber paper
on sepia-tone digital print
47˝h x 40 1/2˝w
35 1/2˝h x 26 1/2˝w
on watercolor paper 24˝h x 29˝w
24. W hite Angel ( 2013 ) sepia-tone digital print
Collage 31. I smael ( 2012 )
on watercolor paper
sepia-tone digital print
29˝h x 24˝w
on watercolor paper 23˝h x 20˝w
25. W hite Lily ( 2011 ) sepia-tone hand-painted
51˝h x 76 1/2˝w
39. G loria Vanderbilt ( 2004 ) b/w negative on hand-painted
32. L arissa ( 2012 )
digital C print
sepia-tone digital print
52 1/2˝h x 40 1/2˝w
on watercolor paper 23˝h x 20˝w
26. S ofia ( 2010 ) sepia-tone digital print
38. M uses ( 2012 )
33. O berón ( 2013 )
on watercolor paper
sepia-tone digital print
23˝h x 20˝w
on watercolor paper 29˝h x 24˝w
digital C print 84˝h x 54˝w
Cecilia ( 2013 )
Aria ( 1984 )
Sonia ( 2004 )
Flora ( 2012 )
Wallis ( 2011 )
Sofia ( 2010 )
White Angel ( 2013 )
Le Petit Trianon ( 2007 )
La Belle Epoque ( 2006 )
A Mother’s Love ( 2006 )
COPYRIGHT © 2014 HUNTSVILLE MUSEUM OF ART ALL RIGHTS RESERVED. ISBN 1-885820-38-0 CATALOGUE DESIGN KEVIN JOHN DOHERTY, NEW YORK, NY PHOTOGRAPHY ADRIAN VILLETA, SAN JUAN, PR ARTIST’S PORTRAIT ALBERTO PEREZ, SAN JUAN, PR PRINTING COMMERCIAL PRINTING, BIRMINGHAM, AL
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