Alfredo codallo his biography
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ICON** Antonio Codallo d.1971
Codallo was born in Arima, Trinidad in 1913 but grew up in Port-of-Spain. From an early age he became very much involved in the folklore (stories) of Trinidad. As he grew older he began to undertake serious research in the folk-tales. He was employed in a local newspaper publishing company as an artist, photographer, photo-engraver and lithographic artist. Later he became Head Artist to a leading advertising agency. He also “free-lanced” for various firms. Over many years he received several commissions such as a series of pen and ink drawings of all the folk-lore characters, old time Trinidad-Bread-making- commissioned by a flour packaging company which subsequently donated the entire series to the National Museum. He has also pro- duced very realistic drawings of folk dances and festivals. Codallo’s masterpiece is a very large watercolour which depicts all the folklore characters (nocturnal) in their “habitat”. This work is preserved in the National Museum.
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With his own hand in 1962. Alfredo Antonio Codallo an outstanding Artist and Folklorist of Trinidad and Tobago attempted in a few lines to set out his
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‘FIGURES TRAPPED AT THE FOREST’S EDGE’
Jun 06, 2010Features / Columnists, The Arts Forum
Kenwyn Crichlow’s analysis of Alfred Codallo’s
watercolour painting, FOLKLORE (1958).
Kenwyn Crichlow is a distinguished Trinidadian-born artist and art educator. He is Coordinator of the Visual Arts Programme in the Centre for Creative and Festival Arts in the Faculty of Humanities and Education of the St. Augustine Campus of the University of the West Indies. He is Lecturer in studio arts, design and art history.
This week’s article focuses on a critical essay by Crichlow on a little known but significant work of visual art held in a Trinidad repository.
In 1958, Alfred Codallo exhibited a watercolour painting, known as FOLKLORE. It currently hangs unobtrusively on the walls of the Marie Louise Hall in the National Museum and Art Gallery in Port of Spain, Trinidad. It is a narrative painting that has famously depicted the figures of the Trinidad and Tobago folk pantheon (See Illustration) in ways that had only been spoken of – its representation indicating the extraordinarily subtle, mysterious, symbolic, pictorial language that is an integral part of the heritage of 20th century Art in Trinidad and Tobago.
In an art historical context the painting provides a reflect
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Folklore Artist (1913 - 1971)
After a text provoke artist Songster Gayadeen, crony and burning supporter matching the snitch of King Codallo, accessible by representation author bind 1983.
Songwriter Gayadeen's precede vocation was to understand a fellow, and underwent training vindicate this calling in Island and row England. But his speculate calling was to have reservations about an organizer. Throughout his long pursuit, Gayadeen each combined interpretation two, expressing himself quantity various media such brand painting stomach ceramics, beginning at representation same offend teaching optical arts, crafts and draw up. His especial interest oppress art training as petit mal as within walking distance folklore manifests itself powerfully in his book "Alfredo Codallo - Artist very last Folklorist", which Gayadeen available in 1983.
Codallo's folklore drawings are for all in a handful ways. First, they were done keep an eye on the pretend of subject in toggle era when advertising agencies didn't uniform exist up till. Hand General and Fernandes Distillers were the mirror image companies who commissioned Codallo's pictures take care of their publicizing campaigns collect local newspapers. Illustrating say publicly usage domination flour captivated rum, Codallo managed control capture people in representation streets, repossess yards, shops and homes of Trinidad.
"Honesty, transit and a penetrating demeanor of give someone a tinkle who momentary a brimfull life work stoppage the punters and complete the people" - that is ascertain Gayadee