Luis Nunez Borda
painter
Notes
Bogota, 1872
........ And it is in this capital, where on June 21, 1872 Luis Núñez Borda was born in a house in the La Candelaria neighborhood located on 10th street. with 3rd race. They were her parents, Juan Nepomuceno Núñez Uricoechea and Ana Borda Caro, and her siblings, Carlos, Inés and Sofía. On the paternal side, his ancestor was from Cartagena by Núñez and from Bogotá by Uricoechea; by the mother, clearly from Bogotá.
From the Núñez de Cartagena he seems to have inherited a kind of neurosis manifested in a withdrawn character when it comes to dealing with broader social circles and even more so, when they become plainly in the public eye. Belonging by birth to the highest social sphere of the time, the painter rejected social figuration and perhaps due to its very origin, he considered this interest in figuration, so typical of Bogotá at that time, as unnecessary and upstart for those who were like him. sure of his ancestor. This form of isolation towards the outside, did not exclude the fact that Núñez Borda had, in his own way, an extremely intense social life within an intimate group in which the artistic and the cultural were emphasized. This intimate group was made up not only by his family members, but by some of his trade colleagues and personal friends.
His excessive modesty impacted on the challenge to make his pictorial work known outside of such close friends. So much so that it is only known that until the 1930s the painter participated in only three group exhibitions. Despite her extreme discretion in disseminating and making her work known, within the cultural environment of the time, her work was known not only for capturing the landscapes of Saba but for a peculiarity that stood out above its contemporaries: she painted the architecture of Santa Fe. , still referring to previous works by renowned painters and engravers or to old plates that described corners of the old city, which no longer existed or were modified in their time.
So representative was his painting of Bogotá in Santa Fe that when the Cabildo and the Bogotá Council wanted to find a painter to illustrate the history of the city, as a tribute to it in its four hundred years, they chose Núñez Borda without requiring a contest. to this end. The crystallization of this tribute was carried out by José Vicente Ortega Ricaurte and Daniel Samper Ortega in a book that they published in 1938 with 98 paintings by Luis Núñez Borda, which served to form the first individual exhibition of the painter, in the old Cabildo.
The paintings of the book of the quadricentennial of Bogotá, made by the painter, slowly fell into oblivion. Part of the collection was burned on April 9, 1948 in the Casa de los Oidores, and with the proper carelessness of state administrators the remaining paintings ended up hanging in the Council cafeteria. And in 1955 they were discharged by this institution ...