As a
child, Pedro Rafael González enjoyed watching his grandfather paint, so he was given a
set of watercolors so he could paint too. The grandfather was San Pedro's first painter,
and he instilled in young Pedro Rafael the dedication of a lifetime. After sixth grade he
wanted to stay in school, but his family was poor so he left for Guatemala City to work as
a gardener. In the City he visited his uncle, Jose Antonio González, a painter who sold
his work on the street. Pedro Rafael moved in with his uncle, sketching subjects on canvas
for the older man to paint. Learning from his uncle's techniques with oils, Pedro Rafael
soon began creating his own paintings, and on Sundays the two wandered the city, trying to
sell paintings near the expensive hotels.
Cutzán River, 1996
11" x 9", digital iris print on paper
edition of 99
Pedro
Rafael worked with his uncle for a year, but after the great earthquake of 1976 he moved
back to San Pedro and continued painting on his own. After getting a job as a bilingual
grade school teacher, he no longer needed to produce tourist art, and he could finally
afford to be more original and detailed. His paintings became the most accomplished and
richly colored of all the Mayan painters. Benjamin González, a promoter and the brother
of established painters Mariano and Matias, loved cousin Pedro Rafael's paintings and
invited him to be part of their group. For five years, the three artists were known as the
"Bothers González Chavajay," becoming famous throughout Guatemala, and with
exhibitions in greater Latin America, the U.S. and Japan. Although independently
successful today, he still remains a major figure in their circle.
Lane of Thatched Huts, 1999
11" x 9", digital iris print on paper
edition of 99
Men of Corn, 1996
20" x 28", digital iris print on paper
edition of 60
This work illustrates an archetypal Mayan ritual. The end of year corn harvest
blessing is underway, with musicians playing, candles burning and beautiful ears of corns
displayed, especially selected for their color and form. The seeds from this corn will be
used to sow next year's harvest.
Rites: Men of Corn, 2000
9" x 12", digital iris print on paper
edition of 150
One
of Pedro Rafael's epic paintings, this work portrays the church of San Tomas, set in the
town of Chichicastenango. The town is well known for its lively market (partially seen on
the left hand side) where the high level of activity matches the shamanist activity taking
place on the church steps.
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As a
child, Pedro Rafael González enjoyed watching his grandfather paint, so he was given a
set of watercolors so he could paint too. The grandfather was San Pedro's first painter,
and he instilled in young Pedro Rafael the dedication of a lifetime. After sixth grade he
wanted to stay in school, but his family was poor so he left for Guatemala City to work as
a gardener. In the City he visited his uncle, Jose Antonio González, a painter who sold
his work on the street. Pedro Rafael moved in with his uncle, sketching subjects on canvas
for the older man to paint. Learning from his uncle's techniques with oils, Pedro Rafael
soon began creating his own paintings, and on Sundays the two wandered the city, trying to
sell paintings near the expensive hotels.
Pedro
Rafael worked with his uncle for a year, but after the great earthquake of 1976 he moved
back to San Pedro and continued painting on his own. After getting a job as a bilingual
grade school teacher, he no longer needed to produce tourist art, and he could finally
afford to be more original and detailed. His paintings became the most accomplished and
richly colored of all the Mayan painters. Benjamin González, a promoter and the brother
of established painters Mariano and Matias, loved cousin Pedro Rafael's paintings and
invited him to be part of their group. For five years, the three artists were known as the
"Bothers González Chavajay," becoming famous throughout Guatemala, and with
exhibitions in greater Latin America, the U.S. and Japan. Although independently
successful today, he still remains a major figure in their circle.
This work illustrates an archetypal Mayan ritual. The end of year corn harvest
blessing is underway, with musicians playing, candles burning and beautiful ears of corns
displayed, especially selected for their color and form. The seeds from this corn will be
used to sow next year's harvest.
One
of Pedro Rafael's epic paintings, this work portrays the church of San Tomas, set in the
town of Chichicastenango. The town is well known for its lively market (partially seen on
the left hand side) where the high level of activity matches the shamanist activity taking
place on the church steps.
Amit May Fine Arts