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118:. When they had completed their work there, they decided to continue as lithographers; receiving awards at several major exhibitions. Celestino continued his painting during this time, producing a depiction of the "
193:. In 1877, he was one of the co-founders of the "Academy of Drawing and Painting" at the National Institute of Fine Arts. In 1883, he was one of the judges at the "Exposición Nacional de Venezuela", together with
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with his brother to establish a lithography workshop. The following year, they established their own art school, the
Academia Martínez-Hermanos. Both worked as collaborators on Ancívar's journal,
90:. These courses lasted for less than a year, but he was able to become an instructor at the new "Escuela de Dibujo" (School of Drawing) He taught at several other institutions as well.
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Paz
Castillo F., Rojas Guardia P. Diccionario Biográfico de las Artes Plásticas en Venezuela, Siglos XIX y XX (1973), Instituto Nacional de Cultura y Bellas Artes, Caracas, pp. 151.
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Paz
Castillo F., Rojas Guardia P. Diccionario Biográfico de las Artes Plásticas en Venezuela, Siglos XIX y XX (1973), Instituto Nacional de Cultura y Bellas Artes, Caracas, pp. 151.
108:, were employed in the lithography workshop of Johann Heinrich Müller and Wilhelm Stapler, where they created images for the first illustrated book published in Venezuela;
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in Bogotá, but was recalled to
Caracas when General Páez returned to power. He continued his photographic work there, together with his former student, Tovar y Tovar and
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In 1839, at the age of nineteen, he taught drawing classes at the "Sociedad Económica Amigos del País" (Economic
Society of Friends of the Nation), founded by General
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Barroso Alfaro, Manuel (1996). Historia documentada de la fotografía en
Venezuela. Caracas: Ediciones de la Presidencia de la República.
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182:. Later, in 1867, he began exhibiting in photography expositions, including one organized by the pioneering photographer,
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De la Plaza, R. Ensayos sobre el arte en
Venezuela (1883), Imprenta de La Opinión Nacional, Caracas, pp. 38, 40.
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De la Plaza, R. Ensayos sobre el arte en
Venezuela (1883), Imprenta de La Opinión Nacional, Caracas, p. 210.
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in 1832. Later, he visited Europe, spending most of his time in Paris, where he studied the "
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His father, Juan José Dionisio Martínez Alemán (1773-1847), was
Secretary to the
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51:, illustrator and photographer. He also spent part of his career working in
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291:
Calzadilla, Juan (1978). El grabado en
Venezuela. Caracas: Fundarte.
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82:"El Llanero Domador" (The Plainsman Tamer), his most familiar image
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and others, celebrating the 100th anniversary of the birth of
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Briefly, from 1860 to 1861, he served as Venezuelan
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In 1847, at the invitation of the Colombian writer,
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94:was one of his most notable students.
97:In 1844, he and his younger brother,
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65:Supreme Court of Justice of Venezuela
43:- 23 December 1885, Caracas) was a
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16:For the Argentine footballer, see
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18:Celestino Martínez (footballer)
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208:His works may be seen at the
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228:Mounted Hunters at the Inn
37:Celestino Martínez Sánchez
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214:Colombian National Museum
350:Venezuelan photographers
316:@ Venezuela e Historia
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111:The Mysteries of Paris
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309:at Wikimedia Commons
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195:Antonio José Carranza
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355:Artists from Caracas
210:National Art Gallery
92:Martín Tovar y Tovar
340:Venezuelan painters
212:in Caracas and the
307:Celestino Martínez
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173:José Antonio Salas
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30:Celestino Martínez
305:Media related to
286:978-980-03-0194-4
151:Charles Chevalier
124:Caracas Cathedral
120:Baptism of Christ
99:Gerónimo Martínez
88:José Antonio Páez
23:Venezuelan artist
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73:Old Masters
69:Juan Lovera
324:Categories
220:References
116:Eugène Sue
45:Venezuelan
314:Biography
147:negatives
59:Biography
47:painter,
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