Ricardo Winitzky was born in Argentina in 1955 and lived in Lima, Peru, from the age of 21.
He studied with Cristina Gálvez, a renowned Peruvian sculptor
considered by many critics to be a leading figure in modern sculpture.
The classes at Cristina’s home-studio shared a common thread, combining technical rigor and the promotion of creative freedom, centered on the rigorous learning of figure drawing (1978-1983).
From 1983 to 1985, he studied at the Art Student League of New York, returning to Peru where he took watercolor classes with Juani Pastorelli and painting with Leslie Lee, one of the most representative visual artists of the 1960s generation and a beloved mentor for younger painters.
After managing the most successful advertising agency during the 1990s, he returned to Argentina in 2002 and continued to teach himself painting. In 2003/2005, he took classes at Juan Doffo’s studio.
Between 2006 and 2011, he continued drawing and painting the human figure at the Fine Arts School with Eduardo Pesce and Ariel Mlynarzewicz. He masterfully handles various techniques such as pencil, ink, pastel, acrylic, and oil, and his themes address the human figure in different ways. Whether as a continuous exercise in “letting go,” with 3 or 4 minute works, a challenge to appropriate the synthesis of the figure, or with more elaborate works, with a focus on bold and very contemporary color palettes.
Like other activities that motivate various trips throughout Argentina, Ricardo always accompanies these periods with a pad of paper and various materials. Thus, watercolors, acrylics, and inks emerge, capturing landscapes and locals. Once again, palettes emerge that, in this case, do reveal the mimesis of nature, although in others he dares to combine his artistic freedom.
A series also appears that relates to his evolution and personal experiences with the world of power, with paintings that glimpse dark characters, contrasting colors, figures on thresholds from which they peer into the chiaroscuro, in an underworldly spatiality.
The artist acknowledges an imperfect search to shed light on the shadows of human nature itself.
In turn, from this exercise a series will emerge with surrealist characteristics, suggesting the possibility of new worlds, and hopeful skies that invite us to travel into the interior of the painting itself.
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Vendor Biography
Ricardo Winitzky was born in Argentina in 1955 and lived in Lima, Peru, from the age of 21.
He studied with Cristina Gálvez, a renowned Peruvian sculptor
considered by many critics to be a leading figure in modern sculpture.
The classes at Cristina’s home-studio shared a common thread, combining technical rigor and the promotion of creative freedom, centered on the rigorous learning of figure drawing (1978-1983).
From 1983 to 1985, he studied at the Art Student League of New York, returning to Peru where he took watercolor classes with Juani Pastorelli and painting with Leslie Lee, one of the most representative visual artists of the 1960s generation and a beloved mentor for younger painters.
After managing the most successful advertising agency during the 1990s, he returned to Argentina in 2002 and continued to teach himself painting. In 2003/2005, he took classes at Juan Doffo’s studio.
Between 2006 and 2011, he continued drawing and painting the human figure at the Fine Arts School with Eduardo Pesce and Ariel Mlynarzewicz. He masterfully handles various techniques such as pencil, ink, pastel, acrylic, and oil, and his themes address the human figure in different ways. Whether as a continuous exercise in “letting go,” with 3 or 4 minute works, a challenge to appropriate the synthesis of the figure, or with more elaborate works, with a focus on bold and very contemporary color palettes.
Like other activities that motivate various trips throughout Argentina, Ricardo always accompanies these periods with a pad of paper and various materials. Thus, watercolors, acrylics, and inks emerge, capturing landscapes and locals. Once again, palettes emerge that, in this case, do reveal the mimesis of nature, although in others he dares to combine his artistic freedom.
A series also appears that relates to his evolution and personal experiences with the world of power, with paintings that glimpse dark characters, contrasting colors, figures on thresholds from which they peer into the chiaroscuro, in an underworldly spatiality.
The artist acknowledges an imperfect search to shed light on the shadows of human nature itself.
In turn, from this exercise a series will emerge with surrealist characteristics, suggesting the possibility of new worlds, and hopeful skies that invite us to travel into the interior of the painting itself.