Skip to content

CLAUDIO BRAVO

Video-Show

"The objects I paint transcend and magnify reality. I use light somewhat in the way Francisco de Zurbarán did. He was one of the few painters that gave true transcendent meanings to objects. This treatment of light makes them appear more as they are. Their essence is greater.” 

-Claudio Bravo

"Gifted with technical virtuosity, Bravo commands
a seemingly effortless sleight-of-hand to enthrall
viewers in unexpected ways. Like a modern-day
alchemist, he manages to transform everyday objects and ordinary subjects into something inimitable,
rarified and extraordinary. Even his most austere and nearly abstract compositions can inspire awe in
their transcendental allure." ​​​​​​​​​​​​

- David Ebony, Contributing Editor: Art in America

Thumb-Show

Thumb-Show Thumbnails
Red Cloth, 2011

Red Cloth, 2011
oil on canvas
78 3/4 x 29 1/2 inches
(SOLD)

Three Aluminum Papers, 2010

Three Aluminum Papers, 2010
oil on canvas
63 3/4 x 51 1/8 inches
 

Inquire
Moroccan Fans, 1994

Moroccan Fans, 1994
oil on canvas
39 1/2 x 31 3/4 inches
 

Inquire
Stone and Spathe, 2010

Stone and Spathe, 2010
oil on canvas
39 3/8 x 31 7/8 inches
 

Inquire
Blue Marjana, 2008

Blue Marjana, 2008
oil on canvas
51 x 63 3/4 inches
 

Inquire
Lamb Skin, 2003

Lamb Skin, 2003
pastel on paper
29 1/8 x 42 7/8 inches
 

Inquire
Opening the Door, 1991

Opening the Door, 1991
pastel on paper
29 1/8 x 40 1/8 inches
 

Inquire
Camel and Lamb Skins, 2004

Camel and Lamb Skins, 2004
oil on canvas
35 x 57 1/8 inches
 

Inquire
Said, 1995 black charcoal, sanguine, and white pencil on paper

Said, 1995
black charcoal, sanguine, and white pencil on paper
41 1/2 x 29 1/2 inches
 

Inquire
Nude Male Leaning on Column, 1979

Nude Male Leaning on Column, 1979
oil on canvas
38 x 34 1/8 inches
 

Inquire
Stretchers, 2008 oil on canvas

Stretchers, 2008
oil on canvas
44 7/8 x 57 5/8 inches
 

Inquire
Green and Aluminum, 2010

Green and Aluminum, 2010
oil on canvas
98 1/4 x 19 5/8 inches
 

Inquire
Ritual Stones, 1997

Ritual Stones, 1997
oil on canvas
38 x 51 inches
 

Inquire
Green Sofa, 1991

Green Sofa, 1991
pastel on paper
31 1/4 x 45 7/8 inches
 

Inquire
Yellow Marjana, 2008

Yellow Marjana, 2008
oil on canvas
51 1/8 x 63 3/4 inches
 

Inquire
Engines, 2009 oil on canvas

Engines, 2009
oil on canvas
63 3/4 x 51 1/8 inches
 

Inquire
Palm Frond, 2008

Palm Frond, 2008
oil on canvas
78 1/2 x 29 3/8 inches
 

Inquire
Saharan Vessel, 1994

Saharan Vessel, 1994
oil on canvas
47 1/4 x 39 1/2 inches
SOLD
 

Two Heads and Hands (Study for Luzbel and Lucifer), 1983

Two Heads and Hands (Study for Luzbel and Lucifer), 1983
pencil on paper
15 3/4 x 19 1/2 inches
 

Inquire
Still Life, 2003

Still Life, 2003
oil on canvas
12 1/8 x 18 3/4 inches
 

Inquire
Engines, 2008 pencil on paper

Engines, 2008
pencil on paper
29 1/8 x 42 7/8 inches
 

Inquire
Ait Iaaza, 2008

Ait Iaaza, 2008
oil on canvas
15 x 18 inches
 

Inquire
Marabout de Tiout, 2008

Marabout de Tiout, 2008
pencil and crayon on blue paper
9 1/2 x 12 inches

SOLD
 

Inquire
Marabout de Tata, 2008

Marabout de Tata, 2008
sanguine on sepia paper
9 1/2 x 12 inches
 

Inquire
Red Cloth, 2011

Red Cloth, 2011
oil on canvas
78 3/4 x 29 1/2 inches
(SOLD)

Three Aluminum Papers, 2010

Three Aluminum Papers, 2010
oil on canvas
63 3/4 x 51 1/8 inches
 

Moroccan Fans, 1994

Moroccan Fans, 1994
oil on canvas
39 1/2 x 31 3/4 inches
 

Stone and Spathe, 2010

Stone and Spathe, 2010
oil on canvas
39 3/8 x 31 7/8 inches
 

Blue Marjana, 2008

Blue Marjana, 2008
oil on canvas
51 x 63 3/4 inches
 

Lamb Skin, 2003

Lamb Skin, 2003
pastel on paper
29 1/8 x 42 7/8 inches
 

Opening the Door, 1991

Opening the Door, 1991
pastel on paper
29 1/8 x 40 1/8 inches
 

Camel and Lamb Skins, 2004

Camel and Lamb Skins, 2004
oil on canvas
35 x 57 1/8 inches
 

Said, 1995 black charcoal, sanguine, and white pencil on paper

Said, 1995
black charcoal, sanguine, and white pencil on paper
41 1/2 x 29 1/2 inches
 

Nude Male Leaning on Column, 1979

Nude Male Leaning on Column, 1979
oil on canvas
38 x 34 1/8 inches
 

Stretchers, 2008 oil on canvas

Stretchers, 2008
oil on canvas
44 7/8 x 57 5/8 inches
 

Green and Aluminum, 2010

Green and Aluminum, 2010
oil on canvas
98 1/4 x 19 5/8 inches
 

Ritual Stones, 1997

Ritual Stones, 1997
oil on canvas
38 x 51 inches
 

Green Sofa, 1991

Green Sofa, 1991
pastel on paper
31 1/4 x 45 7/8 inches
 

Yellow Marjana, 2008

Yellow Marjana, 2008
oil on canvas
51 1/8 x 63 3/4 inches
 

Engines, 2009 oil on canvas

Engines, 2009
oil on canvas
63 3/4 x 51 1/8 inches
 

Palm Frond, 2008

Palm Frond, 2008
oil on canvas
78 1/2 x 29 3/8 inches
 

Saharan Vessel, 1994

Saharan Vessel, 1994
oil on canvas
47 1/4 x 39 1/2 inches
SOLD
 

Two Heads and Hands (Study for Luzbel and Lucifer), 1983

Two Heads and Hands (Study for Luzbel and Lucifer), 1983
pencil on paper
15 3/4 x 19 1/2 inches
 

Still Life, 2003

Still Life, 2003
oil on canvas
12 1/8 x 18 3/4 inches
 

Engines, 2008 pencil on paper

Engines, 2008
pencil on paper
29 1/8 x 42 7/8 inches
 

Ait Iaaza, 2008

Ait Iaaza, 2008
oil on canvas
15 x 18 inches
 

Marabout de Tiout, 2008

Marabout de Tiout, 2008
pencil and crayon on blue paper
9 1/2 x 12 inches

SOLD
 

Marabout de Tata, 2008

Marabout de Tata, 2008
sanguine on sepia paper
9 1/2 x 12 inches
 

David Ebony on Claudio Bravo's vision

Three Aluminum Papers, 2010
oil on canvas
63 3/4 x 51 1/8 inches

Three Aluminum Papers, 2010
oil on canvas
63 3/4 x 51 1/8 inches

"Corresponding to Bravo’s celebrated painting series of anonymous packages wrapped in paper, Three Aluminum Papers shows the metallic panels, equidistant apart, fixed to thin rods and cords, and hanging against a deep Prussian blue wall. The three shimmering bands of foil, with golden highlights, suggests a devotional tableau of some kind, rather in the manner of an altar hung with Tibetan thangkas. Considering Bravo’s Catholic upbringing in Chile, and his passion for painters of the Spanish Baroque that he studied firsthand in Spain, and in particular the paintings of Francisco de Zurbarán (1598-1664), one might be tempted to regard Three Aluminum Papers as an allegorical work, alluding to the Holy Trinity, perhaps, but without overt religious imagery. In this way, Bravo, with aforementioned sleight-of-hand brilliance, infuses the commonplace with an unexpected spiritual propensity."

Stretchers, 2008
oil on canvas
44 7/8 x 57 5/8 inches

Stretchers, 2008
oil on canvas
44 7/8 x 57 5/8 inches

"Bravo, who frequently asserted an appreciation for the work of Mark Rothko, Antoni Tàpies, and other abstractionists, presents the two spare monochromes of Stretchers in his typical, lovingly rendered fashion. In this picture-within-a-picture, or, rather, pictures within a picture, Bravo addresses the heated—and ongoing—artworld debate—often a battle—pitting the virtues of abstraction against those of figuration. It is an argument that has preoccupied critics, art historians, art-world observers, and indeed, artists themselves, since the early twentieth century. Here, Bravo savvily calls for a truce. By employing a virtuoso realist visual vocabulary to ennoble abstract, Minimalist iconography, he suggests the poignant notion that both modes of expression, if they are well executed, can be valid efforts in the pursuit of truth and beauty in art."

Saharan Vessel, 1994
oil on canvas
47 1/4 x 39 1/2 inches

Saharan Vessel, 1994
oil on canvas
47 1/4 x 39 1/2 inches

"Bravo, who lived and worked in Morocco for decades, pays tribute to this adopted homeland in many works, but not in the usual or expected way of emphasizing local color, Berber tradition, or elements of Islamic culture.  He neither romanticizes nor exoticizes the North African milieu, and his works, while harboring a spiritual aim, are apolitical in this regard...Clearly, the still-lifes Saharan Vessel (1994) (and) Moroccan Fans (1994), are sincerely felt, reverent tributes to the arts and crafts of North Africa, particularly Moroccan weaving and ceramics – which Bravo collected in depth – as well as the country’s ancient ethnographic history."​​​​​​

Yellow Marjana, 2008
oil on canvas
51 1/8 x 63 3/4 inches

Yellow Marjana, 2008
oil on canvas
51 1/8 x 63 3/4 inches

"Arrangements of canned goods, dish detergent, and other commercial products here correspond to Pop art motifs from the 1960s on, but the meticulous illusionism, brilliant color and light, are purely of Bravo’s fertile imagination...Yellow Marjana (2008) could be read in an allegorical way...the bottles of cleaning products (at left) give way to tennis and soccer balls, and comfortable Moroccan babouchas or slippers on the right, as if sports, recreation, and relaxation would be just reward for a day of hard work cleaning, or—furthering the metaphor—soul cleansing.”

Nude Male Leaning on Column, 1979
oil on canvas
38 x 34 1/8 inches

Nude Male Leaning on Column, 1979
oil on canvas
38 x 34 1/8 inches

“Among the earliest and most mysterious works in this exhibition, Nude Male Leaning on Column (1979) is a complex scene of a studio interior, with a male nude seated on the floor with his back to the viewer. A window in the far distance reveals an urban setting. On a bench near the male nude, a seated female nude is, remarkably, left unfinished. A ghostly presence, this sensuous apparition might suggest either the beginning or the aftermath of an erotic interlude. A surrealistic atmosphere pervades the scene, although Bravo’s work, as it explores consciousness rather than the unconscious, cannot be classified as Surreal. In this work, and in all of his paintings and works on paper, Bravo places his formidable and inimitable technical skills in the service of illusionism. With his singular vision, he aims to convey the magic of reality.”

Lamb Skin, 2003
pastel on paper
29 1/8 x 42 7/8 inches

Lamb Skin, 2003
pastel on paper
29 1/8 x 42 7/8 inches

"Technically conveying an astonishing verisimilitude of the texture of fur, Lamb Skin (2003)...honor(s) desert animals and great shepherding and agrarian cultures of North Africa. The animals themselves, however, are absent which suggests the fragility of these traditions, and their potential dissolution with modernism, industrialization, and the passage of time."