Orange, 1965, Oil on canvas, 70 x 35 in. 178 x 89 cm.
Tlon, 1969, Acrylic emulsion on canvas, 48 x 48 in. 122 x 122 cm.
I wonder why, 1971, Acrylic on canvas, 48 x 48 in. 122 x 122 cm.
Sagitarius, 1972, Acrylic emulsion on canvas, 42 x 42 in. 106 x 106 cm.
Ayamarka 2, 1980, Acrylic emulsion with marble powder on paper, 22 x 22 in. 56 x 56 cm.
Waca de la luna, c. 1981-1982, Acrylic emulsion and marble powder on canvas, 40 x 28 in. 102 x 71 cm
Archetypal geometry series, 1982, Acylic emulsion with marble powder on paper, 22 x 22 in. 55,8 x 55,8 cm.
Archetypal geometry series IV, 1982, Acylic emulsion with marble powder on paper, 22 x 22 in. 55,8 x 55,8 cm.
Spirit of the cyclades, 1991, Acrylic emulsion and marble powder on canvas, 66 × 66 × 3 in. 167.6 × 167.6 × 7.6 cm
Tambo Colorado II, 1991, Acrylic emulsion and marble powder on canvas, 70 × 65 × 3 in. 177.8 × 165.1 × 7.6 cm
Sumpu Punku, 1992, Acrylic emulsion and marble powder on canvas, 66 × 43 × 3 in. 167.6 × 109.2 × 7.6 cm
Cruz del Sur, 1992, Acrylic emulsion and marble powder on canvas, 66 × 53 × 3 in. 167.6 × 134.6 × 7.6 cm
Evocation: Hurin Machu Picchu, 1993, Pigmented cement, 18 × 12 1/2 × 12 1/2 in. 45.7 × 31.7 × 31.7 cm
"Caolín" Portico, 1993, Acrylic emulsion with marble powder on wood, 22 × 12 × 1 1/2 in. 55.9 × 30.5 × 3.8 cm
Red Portico II, 1994, Acrylic emulsion and marble powder on wood, 26 × 15 × 1 1/2 in. 66 × 38.1 × 3.8 cm
Confluence № 3, 1998, Acrylic on canvas, 60 x 60 in. 152,4 x 152,4 cm.
Confluencia "Baires" #1, 2000, Acrylic on canvas, 42 x 42 in. 106 x 106 cm.
Mojacar № 2, 2000, Acrylic on paper, 22¼ x 22¼ in. 56 x 56 cm.
Mojacar № 1, 2000, Acrylic on paper, 22¼ x 22¼ in. 56 x 56 cm.
Contrapunto II (Desert Light), 2003, Acrylic on canvas, 36 x 36 in. 91 x 91 cm
Trio: Tema Marginal, 2010, Acrylic on canvas, Each: 63 x 9⅞ in. 160 x 25 cm.
Conjuntos Progresiones 6, 2010, Tempera on folded paper, 25⅜ x 47¼ in. 65 x 120 cm.
Vertical-Rojo Horizontal, 2010, Oil, mixed media on canvas, 59 x 21¼ in. 150 x 54 cm.
Black & Blue, 3, 2011, Oil, mixed media on canvas, 31½ x 31½ in. 80 x 80 cm.
Trio # 23, 2015, Oil on canvas, Installed dimensions: 61 x 35½ in. 156 x 90 cm.
Post-Deconstruct (New York), 2016, Acrylic on canvas, 39⅜ x 39⅜ in. 100 x 100 cm.
Cesar Paternosto at Pachacamac, Peru, 1979
b. 1931 La Plata, Argentina – lives in Segovia, Spain
After beginning his career working in an informalist mode, followed by a brief period of lyrical figuration, Paternosto first created artworks based on Geometric Abstraction in the early 1960s. By the end of this decade, his formal and theoretical explorations led the artist to push beyond the very boundaries of the medium of painting. Leaving the surface of the canvas blank, Paternosto shifted the emphasis of his artworks to their outer edges, converting his paintings into objects, and rebelling against the inherited tradition of only viewing paintings frontally. Since this breakthrough, he has remained on the vanguard of abstraction in both New York, where he lived for over four decades, and Latin America.
In addition to his career as a painter, Paternosto has studied Pre-Columbian art with academic rigor. This expertise has
not only influenced his artistic practices, but has also led him to assume scholarly and curatorial roles, including the international exhibition, Abstraction: The Amerindian Paradigm. In 2005, the artist moved to Segovia, Spain, where, just a year prior, a major retrospective of his work had been on view at the Esteban Vicente Museum of Contemporary Art. Paintings by Paternosto are found in various prestigious collections, including the Museum of Modern Art, New York; the Solomon R. Guggenheim Museum, New York; the Museum of Fine Arts, Boston; the Museo Reina Sofia, Madrid; the Kunstmuseum, Bern, Switzerland; and the Städtisches Museum Abteiberg, Mönchengladbach, Germany, amongst others.
Please click for CV
Painting as Object: the Lateral Expansion. New Works.
Gallery exhibition catalogue with essay by Edward J. Sullivan; extensive illustrated chronology, 90 pages fully illustrated.
$ 20.00 + postage
This beautifully designed and printed catalogue of essays, large color plates, and illustrated chronology explores Paternosto's artistic contributions, influences and achievements over the last 4 decades.
Essays by Lucy R. Lippard, Ricardo Martín-Crosa & Toshiaki Minemura; printed on Fabriano paper by Lucini officina d'arte graffica, Milano, Italy; Hardcover, 24 color, 56 b&w illustrations, 144 pages
$40.00 + postage
The Stone and the Thread: Andean Roots of Abstract Art
Challenging the notion that abstraction is a development of the modern West, Paternosto reveals its deep roots as an indigenous American tradition and shows how that tradition reverberates in the work of twentieth-century artists... In this major, paradigm-shifting book... César Paternosto offers the first comprehensive analysis of ancient Andean art - textiles, pottery, stone sculpture, and the famous lines in the Nazca desert - into one coherent whole...
César Paternosto; 272 pages; In English, University of Texas Press, hardcover, 172 photographs and illustrations
North and South Connected: An Abstraction of the Americas
Catalogue of the 1998-99 gallery exhibition with a major essay by the artist and historian César Paternosto and the essay: Three Andean Tunics – Color and Geometry as Metaphor by Vanessa Drake & Andres Moraga. As reviewed by Holland Cotter in the New York Times, "... the show traces a line, or rather several lines, between pre-Columbian art and 20th-century American modernism, with some eye-opening results."
Cecilia de Torres, Ltd. 52 pages, 16 color plates, 42 black and white illustrations
$ 20.00 + postage
Tortosa, Alina, "Cesar Paternosto: Recent Work," Arte Al Día"El pintor Argentino Cesar Paternosto, el artista de siete vidas," Diario La Vanguardia, January 24, 2018"César Paternosto presenta 'Hacia una pintura objetual' en el Museo Thyssen," latamuda.com, January 16, 2018Paternosto dialoga en el Thyssen con los maestros del siglo XX para mostrar a la "pintura como objeto", Europa Press, Nov. 13, 2017Guerrero, Benito, "La pintura objetual de Cesar paternosto se expone en Madrid," Cambio 16 (cultura) Nov. 12, 2017Interview Elliot Bostwick Davis, Arte al DiaHaiku Reviews by Peter Frank_Review of CDT Show 2012Martin, Aurelio, "César Paternosto recupera en sus cuadros el silencio a través del color y la geometría," Diario El Pais, January 27, 2004
César Paternosto's Upcoming Exhibition
We are pleased to announce César Paternosto's upcoming exhibition:
César Paternosto, Obras Recientes, Guillermo de Osma Galería, Madrid, Spain
Opening Reception: Tuesday, November 22, 2017, 7:30 PM
On view: November 22, 2017 to January 15, 2018
For more information, please click here.
César Paternosto's Exhibition at the Thyssen-Bornemisza Museum
We are pleased to announce Cesar Paternosto's upcoming exhibition:
César Paternosto: Hacia una pintura objetual, El Museo Nacional Thyssen-Bornemisza, Madrid, Spain
Opening Reception: Monday, November 13, 12:30 pm
On view: November 13, 2017 to January 28, 2018
For more information, please click here.
César Paternosto's new exhibition
We are pleased to announce César Paternosto's new exhibition:
El silencio de las lineas, María Calcaterra Galería, Buenos Aires, Argentina, October 1st through December 1st, 2015
Opening Reception: October 1st, 2015, 7-9pm.
For more information about the exhibition, please contact María Calcaterra by clicking here.
César Paternosto exhibition at Galerie Denise Rene
We are pleased to announce César Paternosto's exhibition:
Paternosto, Galerie Denise Rene-Rive Gauche, Paris, France
Opening Reception: Thursday, April 16, 2015, 7-9pm
For more information, please contact the gallery at email@example.com
César Paternosto Exhibition Review
We are pleased to share César Paternosto's Painting as Object exhibition reviews:
Claudio Iván Remeseira in Hispanic New York
Peter Frank in Huffington Post Arts & Culture