Olga Albizu | |
---|---|
Born | Olga Albizu Rosaly May 31, 1924 |
Died | July 30, 2005 New York City, United States | (aged 81)
Nationality | Puerto Rican |
Education | University of Puerto Rico Art Students League Académie de la Grande Chaumière Accademia di Belle Arti |
Known for | Painting |
Notable work | Various Music labels |
Movement | Abstract Expressionist |
Awards | 2nd Prize, Ateneo Puertorriqueño, Puerto Rico 2nd Prize, Esso Salon of Young Artists, San Juan, Puerto Rico |
Patron(s) | Stan Getz |
Olga Albizu Rosaly (1924–2005) was an abstract expressionist painter from Ponce, Puerto Rico. Albizu Rosaly was the first woman dedicated to abstraction in Puerto Rico.[1][2]
Albizu was born to a relatively wealthy family and raised in Puerto Rico, where she studied painting with the Spanish painter Esteban Vicente from 1943 to 1947.[3][4][5] She received a B.A. from the University of Puerto Rico in 1946. In 1948 she moved to New York City on a fellowship for post-graduate work at the Art Students League,[3] where she studied under Morris Kantor, Carl Holty, and Vaclav Vytlacil.[6] She also studied with Hans Hofmann[6] and subsequently became his apprentice.[4] After that, she did further studies in Europe at the Académie de la Grande Chaumière in Paris and the Accademia di Belle Arti in Florence.[3] Later, she spent a year painting in the Provence, as painters such as Van Gogh and Cézanne had done before her. In 1953 she returned to New York.[7]
In 1957, Albizu premiered in The First Comprehensive Exhibition of Contemporary Puerto Rican Artists.[8] Paintings by Albizu were formally inaugurated at the Pan American Union June 16, 1966.[9] Albizu was extensively exhibited in Puerto Rico, Israel, and the US.[9]
Her works have been used in the artwork of various record covers, including a number of albums by Stan Getz.[10][11][12]
Stan Getz:
Bill Evans:
Alibizu's work was included in the Smithsonian American Art Museum's 2013 exhibit, "Our America: The Latino Presence in American Art,"[15] and her work, "Radiante" (1967), is part of the collection[16] and was used as one of several new banners at the entrance to the Museum in 2017.[17]