Humberto Chaves Cuervo (1891 – 1971) was a colombian painter who left his mark in fields as diverse as painting, advertising, drawing, illustration and decoration, and with themes such as landscape, portraiture, still life, urban progress in Medellín, Antioquia's economic history and religious and historical painting, always within its realistic conception inspired by the search for beauty as an ideal of art.
The Chaves Cuervo - Pintor Project is dedicated to the investigation and dissemination of his life and work, thus contributing to the rescue of our cultural heritage and the visibility of the roots of our regional identity.
1 August 1891 - 28 August 1971: 150 years of birth
The boy with the soap bubble - Design of María Teresa Lopera Chaves
about an advertisement of Humberto Chaves Cuervo
Pablo Neruda.At the foot from his child Quoted by:
Sorayda Peguero "The white sheep"
El Espectador. Diciembre 26 de 2015
“The child's foot does not yet know that it is a foot
and wants to be a butterfly or an apple.
But then the glass and the stones, the streets,
the stairs, and the roads of the hard earth/they teach the foot that it cannot fly,
that it cannot be round fruit on a branch.
The child's foot was then defeated, /he fell in battle, he was a prisoner, condemned to live in a shoe ”.
Perhaps it was a bright day like today, when 130 years ago, you saw the light for the first time, and that first was the light of Medellín, the small country that you inhabited, recognized and painted, the same one that a father gave you who did not fit into the churches or luxurious houses, and that he was only there to paint and decorate them, filling your childhood with colors, brushes and charcoals, and the same city where your mother died so soon, filling your soul with incredible nostalgia; the same city where you knew as a child the horrors of war and the arbitrariness of destiny, but also, the city where you found Maria, your home and your daily life so full of challenges.
We know that a serious transmutation occurred in your soul, and that perhaps your once bare feet were defeated by the harshness of the pavement, but your love for the light, the color, and the beauty you never grew up before could never defeat because as the child ready to play when the least occasion allows it, you were always there, ready with your eyes and your hands as a child painter soon to recognize the ethereal and fleeting moment when the soap bubble returns to be a drop, showing us how the light plays about everything we are and about what surrounds us.
That day in August was promising and no one imagined that today, 130 years later, we would return to your name and appreciate that strange mixture of tragedy and color with which you went through your existence, filling us with testimonies of the beauty that surrounds us because that is your works, a sing of respect for the other, an exploration without limits and without pause on this small homeland that your descendants still inhabit today.
Homenaje a las madres del mundo - Tribute to the mothers of the world - Hommage aux mères du monde - 向世界各地的母亲致敬 - Дань матерям мира - Homenagem às mães do mundo - Partem tributorum ex hoc mundo ad matres - Omaggio alle madri del mondo - Eerbetoon aan de moeders van de wereld - Huldeblyk aan die moeders van die wêreld - Hommage an die Mütter der Welt - تحية لأمهات العالم - Hyllning till världens mammor - 世界の母親へのオマージュ - Homenatge a les mares del món
Of the means of transport, the one that turned out to be the most contradictory is the railroad: since 1870 there was already the aspiration to build it and several generations pledged their hope and their resources to build the railways of Antioquia and Amagá, and the most difficult section, the bankruptcy tunnel; The railroad was declining as the means of land transport in the greatest degree, as it was displaced by motorized cargo vehicles, and the teaching of other countries where trains still coexist as part of a multimodal transport system was not applied.
Baron Humboldt declined to enter Antioquia territory because he considered it inconceivable that a human being could carry out this work. In 1861, overcoming his first reservations, the French doctor Charles Saffray did know the Antioquia territory and ended up declaring his admiration for the dignity and skill of the men who carried the saddles.
Each painting tells a story like the saddle: from a certain point going up the Nare River, the terrain became so difficult that even the beasts could not travel through it, the only option was to be transported on the back of a carrier in a saddle.
Here we continue! Our thanks for each of your visits, they encourage us to continue our research. We look forward to sharing the results of the research with you, and therefore invite you to visit us frequently. As always, our email and contact details remain open for your suggestions or contributions.
María Teresa Lopera Chaves /
Calle 12 sur No.43A- 255 Ap.807 Medellín - Colombia
Humberto Chaves Cuervo, Humberto Chávez Cuervo, painter, illustrator, publicist, Master, teacher, graphic designer, classical art, realism, customs, citizens, people, peasants,watercolorist, portraits, art, Still lifes, fresco painting, cigarettes, chocolate, Stations of the Cross, Transport series, Painter of the race, Iconography, portrait, self-portrait, azaleas, horses, Identity, Heritage
Humberto Chaves Cuervo, Humberto Chávez Cuervo, Antioquia, Colombia, Bolívar Simón, Cano Francisco Antonio, Cervecería Libertad, Chaves Murcia Rafael, Cristo del perdón, El libertador, Fabricato, Gómez Pedro Nel, Instituto de Bellas Artes, Pielroja, Mater Dei, Medellín, Montoya Gabriel, Municipio de Santo Domingo, Nuestra Señora de Chiquinquirá "la Chinca", Rendón Ricardo, Sáens Rafael, Sagrado Corazón de Jesús, San Martín de Porres, Santa Bárbara, Santa Lucía, Santafe de Antioquia, Sociedad de Mejoras Públicas, Templo San José de El Poblado, Vélez Eladio, Villa Villa María,Virgen María
Iniciamos en 2023 el octavo año de nuestro proyecto, y esperamos que podamos dar a conocer el rico legado del maestro Chaves, gracias a la acción mancomunada con instituciones y personas comprometidas con las acciones de conservación y difusión de nuestro patrimonio cultural.