Poet, playwright, essayist, journalist, painter and Professor Venezuelan, born in Caracas in 1915 and died in his hometown of November 2, 1980. Author of a vigorous plastic work, conceived from the aesthetics of social realism, seeks to denounce social injustice and draw attention to the miserable living conditions of the disadvantaged classes, a prolific and dazzling literary legacy also left it puts him among most prominent Venezuelan intellectuals of the 20th century. In addition, considered as one of the best representatives of Renaissance humanism in contemporary times, deployed an incessant multifaceted work that led him to also mean by their political actions, their educational tasks and social concerns.
Dump from his early youth to the cultivation of literary creation, with only twenty-three-year-old wrote his first texts dramatic, a piece that, under the heading of what the town sings, reconstructs some episodes of the dictatorial period starring Juan Vicente Gómez. This work, completed three years after the death of the dictator, has never been taken to the tables, and his Edition was not possible until, half a century since their early writing, saw the light between the pages of the complete works (1988) of the Caracas-based writer.
Despite this early literary initiation, the youth of César Rengifo was more oriented to the exercise of the pictorial activity. After artistic studies at the Academy of fine arts and the school of fine arts of Caracas, in 1936 he/she went to Chile to continue the development of a process of artistic training, who, shortly thereafter, led him to Mexico, where it started in the techniques of muralism. Also had the opportunity to increase their knowledge pictorial in Italy, for, to ultimately go down in history of the Venezuelan arts as an accomplished specialist in the domain of the easel painting, mural and mosaic techniques.
In general, content that shows the artistic production of César Rengifo are part of a social realism that aims to reflect, from his most radical ideological postulates, injustice and misery surrounding victims of savage capitalism. His works are filled with starving and marginal beings, men, women and children who have been forced to leave the ancestral lands of his ancestors to find a last chance of subsistence in a hostile urban environment. Rengifo, militant political asset that was persecuted and exiled by his relentless work in defence of the underprivileged, complained constantly through his paintings and his literary creation all totalitarian regimes in Latin America, forcing him to live in exile for much of its fertile existence, relegated to oblivion by the Agency official posts in the service of dictatorial governments. From lucid analysis Marxist who encouraged their ideological criteria and directed the theme of his paintings and his literary texts, he/she expressed a vision of the society of his time that Encrypting the source of misery in the displacement from the field to the dehumanized and large urban centres, where those bags of misery and marginalization which constitute the axis of their political concerns were generatedpictorial and literary.
In its constant effort to transform unjust society in which he/she lived, César Rengifo adopted in Mexico, the techniques of muralism emerged as a result of the Mexican Revolution, by implying that this explicit, direct, and monumental painting was that socio-political offered the best chance for the depiction of their complaints. Thus, through this form of pictorial expression, he/she managed to create a series of memorable works characterised by a strong colorful and marked realism that accentuate their spirited social intention. Among his most celebrated murals, it is forced to remember entitled myth of Amalivaca (1955) and Genesis of Venezuela and creation of nationality (1973), both in Caracas. The first one represents an Indian myth of the Caribs who inhabited a part of the current Venezuelan territory before the discovery of America. The second, composed of three parts, plays in the first discovery, conquest and the myth of El Dorado in the second, the resistance of indigenous peoples during the colonial exploitation; third, the struggle for freedom and the conquest of Venezuelan national independence.
Despite the rejection that generated their work between criticism affects key sectors that Rengifo fustigaba in his paintings, mosaics and murals, the international projection and universal recognition achieved by the humanist in Caracas earned you some awards and distinctions so designated as the prize “Andrés Pérez Mujica”, awarded by the Ateneo de Valencia (Venezuela) in 1953, and the national painting Prize, awarded in 1954, year in which was also rewarded with “Antonio Esteban Frías” and “Arturo Michelena” awards.