DIMENSIONS: Image H: 18" x W: 18", framed H: 25" x W: 25"
In 1947 he enrolled in the School of Plastic and Applied Arts, where he studied until 1950, when he was expelled along with an avant garde group protesting against the direction of the institute and its teaching methods. Still a student, Jaimes Sánchez participated in the IX and XI editions of the Official Hall (MBA, 1948 and 1950), with works of a colorful landscaping style, influenced by his teacher Marcos Castillo. A year earlier, in 1949, he had initiated approaches to the Free Art Workshop (Caracas). Later, he began freely experimenting with indigenous designs, and his painting of that era exhibit the influence of the Americanist current of the final years of the forties. In 1951 he met the archaeologist and artist José María Cruxent and collaborated with him in and the exhibition on the discovery of the sources of the Orinoco, in the Museum of Sciences of Caracas. Later he participated in several important forums: the XII Official Hall, the IX Salon Arturo Michelena, both in 1951, and, the following year in the V Hall Planchart, where he obtained the second prize for his work ‘Origins’. In 1953 he represented Venezuela in the II Biennial of São Paulo and participates in the XI Salon Arturo Michelena, in which his work was awarded the Club Lions Award. In 1954 he was one of the selected for the exhibition “Five painters of Venezuela”, represented in the Pan American Union of Washington. He received a scholarship and traveled to Europe in 1954, residing in Rome and later in Paris. He exhibited the “International Painting Exhibition” held at the Ateneo de Valencia (Edo. Carabobo, 1955), on the occasion that city’s anniversary, and also in an exhibition in homage to the Guatemalan artist Carlos Mérida, held at the Free Workshop of Art of Caracas. Still in 1956, Jaimes Sánchez maintained in his works the concept of the archaeological and a magical meaning of the painting. From this stage Gaston Diehl said: “The schematic figures that emerge from the primitive night, are for him only signs allusive. From these motives it is used to establish plastic forms, always corresponding to a very firm structural logic, and a preoccupation of the Lyricism of the colors, arousing alive interest by the force of projection of human sense and its emotional concentration “. For this time he discovers the works of important artists of the currents of lyrical informalism that in Europe, and especially in France, were opposed to the constructivist or geometric tendency. Jaimes Sánchez is interested in the searches of Serge Poliakoff, Nicolas de Staël, Afro (Basaldella), Jean Fautrier, Maurice Estève and Antoní Tàpies; He also discovers the great value of Vasili Kandinsky’s abstraction.
It was from 1956 when he began to eliminate the elements allusive to reality and directed his searches to the abstraction, using planes of color with irregular shapes. In 1956, he participated in the “Première international exposition de l’art plastique contemporain” at the Museum of Modern Art of the City of Paris and at the “Gulf Caribbean Art Exhibition” at the Museum of Fine Arts in Houston, Texas, . The following year he traveled to Washington with an invitation to exhibit individually in the Pan American Union. There he lived for a year. He participated in the meeting of Latin American painters held in that city in 1957, alongside José Luis Cuevas, Alejandro Obregón, Armando Morales and Rodolfo Abularach, among others. In 1958 he exhibited at the Gres Gallery (Washington) and at the Roland Gallery in Aenlle (New York). The work of Jaimes Sanchez deserved the attention of Dore Ashton, who published in April an article about the painter in the New York Times, where he indicated that his attitude “tends to capture the basic rhythms and structures of the landscape subjecting them to the rules of the composition Abstract “. He received an invitation from University of Philadelphia to give talks and seminars to the students of the Faculty of Arts. Then he returned to Venezuela and soon traveled to Peru. In Lima he inaugurated an exhibition in the Institute of Contemporary Art, which was well received by critics. Returning to Caracas in 1959, Jaimes Sánchez began teaching at the Cristóbal Rojas School, where he lectured on elements of visual expression, drawing and painting and art history, and served as director in the period 1961-1962. In 1959 he exhibited at the XX Official Hall and won the Puebla Prize of Bolivar with the work Andes in white. That same year he made his first individual in Venezuela in the MBA. In 1960 he participated in the “Espacios viventes” (Municipal Hall, Maracaibo), which brought together for the first time a group of informalist artists, who at the Sala Experimental de la Sala Mendoza brought together a more cohesive group around the trend. From this period are some of his most representative works as Bancal (GAN collection, 1960) and Fragment of land (GAN collection, 1961) in which he mixed oil, acrylic and plastic glue or casein with sand to achieve their particular textures. During those years he began his graphic work, working in the workshop of Luisa Palacios, with a group also constituted by Darío Lancini and Ángel Luque. In 1962 he received the National Painting Prize in the XXIII Official Hall for Fragment of land and, the following year, he was awarded the Fina Gómez Foundation grant, which allowed him to travel to France again, although he soon returned to Caracas. Between 1963 and 1964 he traveled to Santiago de Chile, Buenos Aires, Montevideo and Lima as curator of the exhibition “22 Venezuelan painters of today”, sponsored by the Neumann Foundation. In 1964 he continued his teaching at Cristóbal Rojas School and entered as a drawing teacher at the Instituto Neumann, where he held the position until 1970. At that time, Jaimes Sánchez integrates in some works graphic elements of pop, as in Amo your years Crazy (1965, GAN collection). In 1968, together with Luisa Palacios and Alejandro Otero, he made the prints for the numbered edition book Humilis herba, a manual of arbitrary botany with texts by Aníbal Nazoa. On that occasion Jaimes Sánchez made three small colophones of great formal refinement (GAN collection). In Caracas, in 1970, he was part of the Presencia 70 group, made up of Venezuelan artists of his generation, who made several exhibitions of his recent works. In 1971 he was appointed director of the Arturo Michelena School, a post he held until 1978. He was an advisor to the Department of Plastic Arts of the UC and member of the National Advisory Committee for the Plastic Arts of Inciba, which he held until 1973; Years later, between 1989 and 1994, and because of his experience in the cultural area, he was one of the members of the Conac National Advisory Commission. In 1975 he traveled to the São Paulo Biennial as curator and representative of the Venezuelan delegation, along with Luis Guevara Moreno, Alejandro Otero and José Antonio Dávila. In 1976, he participated in the exhibition “The Venezuelan Exposition”, organized by De Armas Gallery in Virginia Gardens (Florida, USA). In 1980, the GAN organized an anthological exhibition of his painting entitled “Psychological Lands”, where works were exhibited from 1949 to that time. His work is in the permanent collection of the Museum of Modern Art, New York
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