Tilsa Tsuchiya

Tilsa Tsuchiya

Tilsa Tsuchiya Castillo (24 Sep 1928 in Supe – 23 Sep 1984 in Lima), was a painter and a contemporary Peruvian artist. She's considered one of the best exponents of Peruvian painting for winning the prestigious prize Bienal of Teknoquimica Painting which obtaining it meant a consegration as an artist, marking a change the path of Peruvian plastic. This prize was also presented to her teacher Ricardo Grau in the previous edition of the Bienal. She was a graduate of the Escuela Nacional Superior Autónoma de Bellas Artes of Peru in 1959.

Infancy

Tilsa Tsuchiya was born at Supe, north of Lima, in 1928. Her father, Yoshigoro Tsuchiya (1878-1947), born in Chiba, Japan and arrived to Peru after studying medicine in The United States, he married Maria Luisa Castillo, who was born at Chavin, and was descendent of Chinese immigrants. She was the seventh child of eight that were left orphans very young. In her family she was known with the nickname of "la chola" and at eight years old learned how to draw.

Education

She started her studies in the School of Bellas Artes of Lima in 1947, in that same year she dealt with death of her father and two years later the death of her mother, motives by which she felt obligated to interrupt her studies to establish a window maker and framing workshop with her brother Wilfredo.

After her return to the School of Bellas Artes she subscribed in the workshops of artists Carlos Quizpez Asin and Ricardo Grau, aside from being a student of the particular painter Manuel Zapata Orihuela. Since the beginning she was distinguished by her singular personality with its own style. She entered with honors obtaining the great medal of gold in painting, the class of 1959. Still being a student she won her second prize of Salon Municipal of the year 1957 and participated in the Peruvian envy of "Primera Bienal de la Juventud" convened at Paris in 1958. In 1960 she travelled to France to study Grabado in Ecole des Beaux-Arts and Historia del Arte in La Sorbona , residing until half of decade of the seventies. Her corresponding work during this period in Paris is of a obscure tone and of minimalist aesthetic.


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