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Francisco Amighetti prints from COSTA RICA, BY FERNANDO

studied the IB at the Liceo de Costa Rica, where I learned to work the teacher and watercolor painter Flora Lujan, wife of Paco Amighetti. Then I set about drawing caricatures of my classmates and teachers of the Lyceum. In 1962 he was studying at the University of Costa Rica as it had entered with the intention of making the civil engineering career after studying architecture in Mexico or Brazil, because it was not conducted in Costa Rica. One of the electives was taught Art History Professor Francisco Amighetti. His classes I opened an unknown world, as a slide show while explaining the biography of the painter, was a new vision of the world to face the work of El Greco, Rembrandt, the Italian Renaissance, Raphael, Michelangelo, Leonardo, ... .. and English paintings of Velazquez and Goya, the Impressionists, Picasso, Dali and the isthmus. It asked if I wanted to be an architect or painter and Don Paco explains in an article published in the nation, during my first solo exhibition at the National Arts and Letters in September 1969 :

... Carlos Barboza heard my history lessons Art with clear eyes full of fervor. Traveling through this exhibition I have referred her figure on a rainy night when I spoke with enthusiasm of the engravings made and was going to do .... the end I chose to be a painter recorder and traveled to Europe in 1968 to specialize in engraving intaglio in Spain.

Now in 2010 I recall in Zaragoza, the life and work of the engraver woodcut of an Italian father, Bergamo, and Costa Rican mother, who was born in San Jose in 1907 and eventually became one of the best writers wood of the country and the Latin American graphic. This passion for wood is relatively the same: ... Later, when I recorded the wood, I came into contact with this area of \u200b\u200bthe forest. Fragments let their aroma when they are wounded and came to the scholarship of forests accumulating pieces of pale brown, orange yellow, tinged with his own penitent purple, Manu Brown, the crocuses blackberry, rum-rum heavy and red, locust, the Hawksbill, and many other woods that I discovered. All of them accepted the allegiance of its hardness steel incisions. I'm still patting the pieces of wood that is sometimes not recorded, and hand rub the surface and watch the flashing light to start them, sometimes I leave them uncut, because none of my prints surpasses the beauty and mystery of textures.

In 1987 the Costa Rican Art Museum organized a retrospective exhibition entitled Amighetti, 60 years of artistic work and art historian Charles F. Echeverría writes Amighetti on the work of the following: The cromoxilografía allows, on the other hand, a broad assessment of texture and grain of the wood, a factor that has seized Amighetti as very few, in full command of the technical elements, the issue becomes prominence to be treated freely and imaginatively. Depths of the personality of Amighetti is revealed in the range of his favorite themes, his beloved subjects: children, women's eroticism tropical and roughness of his men and the elderly.

In 1990 while Ambassador of Costa Rica Janina del Vecchio and the excellent composer Cultural Attaché and pianist Manuel Obregon, was organized in Madrid a cultural week dedicated to Costa Rica, sponsored by the Autonomous Community of Madrid and the City Council, the Commission's 5 th anniversary, the Ibero-American Cooperation and Iberia. Artists participated as the painter Rafael Fernandez and I, with a tribute to the movies , and exposed our work in the Board Antonio Palacios, and Don Paco Amighetti in the Centro Cultural de la Villa de Madrid, where I gave a lecture his audience entitled A Century of Art in Costa Rica , slides, and Don Paco. Twenty-eight years later, teacher and students meet again with his work in Spain.

Carlos Barboza Vargas.

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