Age, Biography and Wiki

Rafael Soto was born on 5 June, 1923 in Ciudad Bolívar, Venezuela. Discover Rafael Soto's Biography, Age, Height, Physical Stats, Dating/Affairs, Family and career updates. Learn How rich is He in this year and how He spends money? Also learn how He earned most of networth at the age of 82 years old?

Popular As N/A
Occupation N/A
Age 82 years old
Zodiac Sign Gemini
Born 5 June 1923
Birthday 5 June
Birthplace Ciudad Bolívar
Date of death January 14, 2005,
Died Place Paris, France
Nationality Venezuelan

We recommend you to check the complete list of Famous People born on 5 June. He is a member of famous with the age 82 years old group.

Rafael Soto Height, Weight & Measurements

At 82 years old, Rafael Soto height not available right now. We will update Rafael Soto's Height, weight, Body Measurements, Eye Color, Hair Color, Shoe & Dress size soon as possible.

Physical Status
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Dating & Relationship status

He is currently single. He is not dating anyone. We don't have much information about He's past relationship and any previous engaged. According to our Database, He has no children.

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Rafael Soto Net Worth

His net worth has been growing significantly in 2022-2023. So, how much is Rafael Soto worth at the age of 82 years old? Rafael Soto’s income source is mostly from being a successful . He is from Venezuelan. We have estimated Rafael Soto's net worth , money, salary, income, and assets.

Net Worth in 2023 $1 Million - $5 Million
Salary in 2023 Under Review
Net Worth in 2022 Pending
Salary in 2022 Under Review
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Source of Income

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Timeline

2019

His works can be found in the collections of the main museums of the world, including Tate (London), Museum Ludwig (Germany), Centre Georges Pompidou (Paris), Galleria Nazionale d’Arte Moderna (Roma) and MoMA (New York). One of the main museums of art in Venezuela, in his home town, has his name in tribute to him.

In France, Soto discovered Paul Klee and Piet Mondrian’s work, and the latter suggested the idea of ‘dynamizing the neoplasticism’. This, joined with Soto's will to create a new sort of movement that would add to three dimensional art concluded in associations with Yaacov Agam, Jean Tinguely, Victor Vasarely, and other artists connected with the Salon des Réalités Nouvelles and the Galerie Denise René.

2005

Jesús Rafael Soto died in 2005 in Paris, and is buried in the Cimetière du Montparnasse.

1993

Le Carré/Musée Bonnat, Bayonne; Musée des Beaux-Arts, Pau, France (1993); Fundação de Serralves, Porto, Portugal (1993).

Museo de Arte Moderno - Fundación Jesús Soto, Ciudad Bolívar, Venezuela (1993).

1975

Musée Boymans-van Beuningen, Rotterdam, Pays-Bas (1975); Hirshhorn Museum and Sculpture Garden, Washington D.C., U.S.A. (1975).

1973

In 1973, the Jesús Soto Museum of Modern Art opened in Ciudad Bolívar, Venezuela with a collection of his work. Venezuelan architect Carlos Raúl Villanueva designed the building for the museum and Italian op artist Getulio Alviani was called to run it. Something that is different about this gallerie is that a large number of the exhibits are wired to the electricity supply so that they can move.

1972

Museo de Arte Moderno, Bogotá, Colombia (1972).

1969

Kunstverein für die Rheinlande und Westfalen, Düsseldorf, Germany; Stedelijk Museum, Amsterdam, Netherlands (1969); Palais des Beaux-Arts, Brussels, Belgium (1969); Musée d'Art Moderne de la Ville de Paris, France (1969).

1957

To the preoccupation of searching for a new way of materializing the vibratory states is added the concern to approach human scale, integrating Soto's works to architecture. This is how in Estructura Cinética (1957) the frames that had been drawn on plexiglass become real elements: metal rods welded between them. Soto's works become real special objects that visitors are able to penetrate.

1956

As results of the optical vibratory states that Soto achieves from the superposition of plans, a new situation appears: the outbreak of the solid body, its dematerialization in our retina, phenomena that is produced for the first time in Permutación (1956). In Estructuras cinéticas de elementos geométricos (1955-57) and Armonía transformable (1956) is added a new element that was relegated in his research: color. It is about the superposition of different plexiglass planes, where color frames are inscribed, introducing new vibratory elements. The real division of the plane that had previously undergone an unfolding is produced here. Its structure already suggests a true spatial dimension, as a consequence of the equivalence of its obverse and its reverse. The situation becomes more complex, due to the multiplication of different lines, colors and directions. Plexiglass, medium that had provided the possibility of conforming aleatory states, begins to be an impediment and the search for a new way of materializing vibration starts.

1955

In 1955 Soto participated in the exhibition Le Mouvement, in the Denise René gallery, in Paris. Other artists being shown were Yaacov Agam, Marcel Duchamp and Victor Vasarely. The exhibition prompted the publication of the ‘Yellow Manifest’ about kinetic art and the visual researches involving spectators and stimulus. The kinetic art movement gained force in Europe and Latin-America after this exhibition.

1953

The next step on Soto's works was incorporating time and real movement through the treatment of the space. The work should be an autonomous object, where <<real>> situations were put into play, and not a plan where a determinate vision was projected. At the same time that the spectator was moving in front of the work of art, to obtain from it its optical vibrational effects, time and real movement were being incorporated. In his Dos cuadrados en el espacio (1953), Soto began a series retaking the approaches of Malevich, specially about adopting the square as the <<only valid form>>.

In his Desplazamiento de un cuadro transparente (1953–54) he created a spatial effect on a plane surface that latter was developed in a tridimensional way, superimposing two or more Plexiglas sheets, transparent but painted with straight or curved drawings that changed the way they were seen as the spectator moved, inviting the participation of the public. This work was the response to a discovery: the ambiguity of spatial perception

1950

In the 1950s, Soto experimented with serial art: the repetition of formal elements in the plan, the depersonalization of the work and the revelation of the relativity of the vision. He achieved the reproduction of vibratory phenomena and, above all, the rupture of notions like composition and equilibrium. Making the work of art a fragment of an infinite reality, that could be repeated without varying its essential structure. Without a beginning, an end, up, down, right, left. Helped by notions from the mathematics and music fields, Soto makes his serial art.

In the 1950s and beginning of the 1960s, starting from his basic concept of matter and space as different manifestations of energy, Soto had already structured the conceptual platform of his plastic language. Works like Escritura and Muro de Bruselas, both from 1958, already contain all the elements that will be developed later.

1947

After Soto had graduated from Escuela de Artes Plasticas y Artes Aplicadas, receiving a teaching degree, he was then hired to be the director of the Escuela de Bellas Artes de Maracaibo from 1947 to 1950. When he was teaching there, he received a government grant to travel to France, and settled in Paris.

1942

In 1942 he received a scholarship to study artistic training at the Escuela de Artes Plásticas y Artes Aplicadas (Plastic and Applied Arts School) in Caracas, finishing his studies in 1947. Once there, he took classes in "pure art" and the "training course for instructors in art education history." The director of the school, Antonio Edmundo Monsanto, was instrumental to Soto’s career as well as other very important Venezuelan artist (Omar Carreño, Carlos Cruz-Diez, Narsico Deboug, Dora Hersen, Mateo Manaure, Luis Guevara, Pascal Navarro, Mercedes Pardo and Alejandro Otero) since he often brought inspirations from foreign countries to his students, including the latest from the avant-garde: cubism.

1938

In 1938, Soto participates in a student group affiliated to surrealism ideas and publish in the local journal some poems that scandalize the society. In the group, Soto learns about automatic writing and charcoal drawing. <<I drew heads, portraits, I had a great technique. Finally, there were people that made a petition, the bishop asked to see it and he signed it. I got a scholarship…>>  

1923

Jesús Rafael Soto (June 5, 1923 – January 17, 2005) was a Venezuelan op and kinetic artist, a sculptor and a painter.