Marisol artist images
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Marisol Escobar Venezuelan-American, 1930-2016
There have been several attempts to locate Marisol Escobar within the New York art world of the 1960s. Her close friendship with Andy Warhol, the florid color palette of her sculptures, and her witty exploration of popular culture have frequently led to her association, both socially and formally, with Pop art. However, her clear concern with the raw power of artistic materials and self-reflection is not at all aligned with the movement’s ironic distance. Such preoccupations instead belie a multifaceted relationship with Abstract Expressionism and its practitioners, with whom she met regularly at both the Club and the Cedar Tavern.[2] The difficulty of categorizing her work is not helped by her infamous reticence, which during her lifetime cultivated a mystique that sometimes threatened to overshadow the art itself. And yet, it is precisely Marisol’s ability to elude pigeonholing that reveals her works’ greatest strength: an unwavering commitment to studying the numerous components of the human experience&mda
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MARISOL ESCOBAR
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Marisol Escobar (Marisol), a Venezuelan, was born in Paris in 1930 and spent much of her childhood there. Her father was in real estate, and the family lived very comfortably, although her mother died when she was eleven years old. Marisol was encouraged by her family to pursue a career as an artist and was given financial backing by her father to begin her career. Marisol's family moved to Los Angeles and at the age of sixteen, she studied at the Jepson School. She then attended the Ecole des Beaux-Arts in Paris (1949), the Art Students League in New York City (1950), New York City's New School for Social Research (1951-1854), and with Hans Hoffman, the abstract expressionist, although she resisted the abstract expressionist style.
Marisol was a part of the beat generation. She avoided becoming an action painter and chose sculpture as an alternative. Marisol's early work consisted of small clay figures and woodcarvings of animals and human figures, which were influenced by fairy stories, the funny papers, and the pictures of saints that she
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Born to an opulent Venezuelan family, Maria Sol Escobar spent her childhood following her parents on their journeys and attending their high society soirees. Her artistic training was irregular, eclectic and mostly self-taught: she studied at the Beaux-Arts in Paris in 1949 before moving to New York in 1950, where she briefly joined the Arts Student League, then the Hans Hofmann School for a longer period (1951-1954), located in the Greenwich Village of the Beat Generation. Her early years were marked by abstract expressionism – the dominant style in America after the war. However, the roots of her work are most visible in her teacher Hofmann and his “push and pull” colour theory (based on the attraction or repulsion between chromatic associations). But the young woman preferred sculpture to painting and, although she chose to colour her pieces, her way of working with materials, especially wood, and later plaster, objects, and electricity, remained at a distance from any formal legacy. By the late 1960s, her style and reputation were established.
Her part in Andy
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