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He was born in Rufino, Santa Fe Province on May 12, 1952. Like any field of child plunged into the adventure of knowing him, walking, smelling, watching. Memorized every detail of a bird's nest, the movement of wild boar, antelope, pumas. His father also had health and contact with the animals became more narrow. 

When I was a little over a year, Jorge lost his hearing by an overdose of streptomycin and began to communicate with the world through drawing. Was almost the game of your childhood. All they saw what turned into images. His father, Antonio, love drawing, painting and calligraphy. He taught the handling of pencil, watercolors and inks. When he was nine his mother traveled to Buenos Aires to start a rehabilitation treatment Phonoaudiologic would last several years. Working days dedicated to the rehabilitation and Saturdays, Sundays and holidays to paint in oils with Quinquela Martn Benito. Evenings in which the teacher instructed in the use of color waiting and spoiled with chocolate and churros. After continued his studies in Rosario, along with another large painting, Marcelo Dasso, and spent a brief time in the national school of fine arts, but following his hearing problem, I do not understand what the teacher explained, leaving to attend. When he was 17 years, met the teacher Antonio Berni, through a cousin of his father who was married to a brother of the artist. Berni received the family Rajadell in his house in the street Rivadavia in Caballito. Before taking a test to accept or not as a future assistant, Berni was distracted talking to the rest of the family. Meanwhile, Jorge took a paper and a pencil found in the place and made a portrait in minutes. Berni when he would ask that you demonstrate your skills. Jorge gave a portrait painter and was very surprised to see his own face so well done pencil. Then he replied: That is, it will be my assistant, "and asked," When we want to start working with me? "Today," he replied (this time Jorge and could be understood). By not knowing the area, the father of Jorge Berni asked to indicate a place to board close. "None of pensions," he replied Berni, and offered him his house. Worked hard for three years and engaged in a great friendship. In 1972, when Antonio Berni decided to travel to France for a season, to continue his work in that country, Jorge Rufino again. From then until his final settlement in Buenos Aires in 1987, toured several provinces, making portraits to order and where there was a possibility, exhibitions in hotels and institutions. The influence of Berni paintings in the formation of Rajadell left a deep imprint. Happen over a decade for the former disciple, might break with those images and begin a search that clearly differentiate his artistic production. 

In late 1987 George returned to Buenos Aires with the intention of holding a sample and summoned his brother to help him. Roberto Rajadell, who then took his plans to live in the Sierras de Crdoba, joined a new project of life. The exhibition was held in 1988 in the film premiere of Corrientes Street and Rajadell with the greatest of enthusiasm for his painting, but without money, handed out 500 personal invitations to walk. This was a retrospective of the paintings that Rajadell painting while he was assistant Berni, countryside landscapes and portraits. Were oil paintings and pastel paintings. 

For this time George and painted pets, especially dogs and horses. Also ventured into the surreal painting until he reached the animal art, which is fully engaged, since then. Faced with a box Rajadell surprising detail achieves almost calligraphic painter, reflecting his obsession with imitating the perfection of nature. 

"The artist erases the boundaries between painting and the reality of what he sees. One example is the table in Letaba Leon. " "... Rajadell is one of the leading artists of the country hyper." 
(Clarn Revista VIVA-Diego-Bagnera-24/01/1999) TEAM WORK: RESEARCH, imagination and realism. 

Jorge and Roberto Rajadell, form a team. Jorge Pinto, Roberto and care of the production of the play. It is his voice, his marchand, his right hand. Find deals from the best frameworks to accompany George in the investigation of the habitat of animals required for the study of nature that inspires the artist. In the space where he painted accumulates vocetos, encyclopaedias, documentaries, photos, animal hides, hair, claws, nests, rocks, boards, sticks, straws, all natural elements that help your memory when it comes to recreating your painting hyperrealism . 

"We give great importance to the study of animals in the wild or in captivity," says Roberto Rajadell. Consequently, the brothers have devoted much time to research, covering various regiojnes the country. The first models were the animals in the zoo and also the reseerva of cutini. "This is studying the species in their habitat, their morphology, their way of eating, walking, watching, their coats, their way of vincualarse with other individuals," explains Roberto. In November 1997, Jorge and Roberto Rajadell reached South Africa to explore the reserve and the Kruger Park Animal Park Mala Mala. More than 2400 photos, and samples of the natural place permeated his memory to accommodate the many paintings that emerged from that trip. 

"His way of working is more like that of a painter of the fifteenth century than of any of our contemporaries." 
Ana Battistozzi. Clarn, July 14 1993. 

"The result set is so similar to the reality that George Rajadell has developed a sense of sight above the normal, capable of recording details that escape even the photo." 
M. E. Luduena. FOR YOU Magazine, May 21, 1999. 

At 49 years, Jorge Rajadell enjoys painting and his family. In 1982 he married Mary Rachel, a teacher and had two children: Luciano, 18, and Marcelo, 6. He has come to us a well-deserved recognition and the possibility of living from their art. It is no coincidence. Every day spent over ten hours to paint in his studio located in San Telmo. They explore, in the silence, the central motif of his inspiration. "Painting nature is re-sources, is the beginning. It's back to the demonstrations of the great masters, "says the artist. Rajadell chose acrylic because it says that this material allows you to delve into the details and to achieve self could take several months of work to finish the work. "What we look for in each of my paintings is to reproduce what the human eye sees. Exactly the same way, without any distortion, "said Jorge Rajadell and adds," to paint a few lemons and that people are willing to take the lead one, that's what I'm looking for. It is a competition that I have with myself. " ALSO WORKS AS ENSHRINED ENSHRINED commercial success. 

In 1987, its 35 years, began marketing its Rajadell fabrics with large result set. However, it took six years until his work, Zebras in Kilimanjaro, consecrated him as the most sought after Argentine painter living in the local market. 
It was in the house of his friend Payarlos in San Telmo, who knows the Rajadell Hermans and Guillermo Javier Roldn, who knew her and Obera inviataron to participate in the auction ASSA c they represented. There, in June 1992, Amalia Lacroze de Fortabat acquired by Tigre .- dollars and 22,500 in September nearly doubled to 44,000 by the bid Yaguas. On June 30, 1993, Fortabat exceeded all offers and took the shot of Roldn, Zebras in Kilimanjaro. He became an ardent admirer and his collection now has just seven works of painting Santa. The latest edition of ArteBa, May 2001, Ms. Fortabat bought the book "Leaving the den," or in $ 48,000 s .- This is the highest selling price for a work by a living artist, based on this Fair. ZEBRA ON KILIMANJARO 

This work achieved a record sale for an Argentine artist living in public auction in 1993. The celebrity of the buyer, Amalia Lacroze de Fortabat, and the price reached, gave a very high profile and popularity in the art market, and also outside it. To achieve that rare perfection of her paintings, acrylic aprednio technique and work with the textures of a single hair brush. Eminent cartoonist, begins to make a Rajadell bosqujo then test the colors and finally recreates the background. The Zebras in Kilimanjaro, an acrylic on canvas 140 x 160 cm, it took four months doing this. The model was a zebra in the zoo, Kilimanjaro and reached the scene after consulting all available documentation from National Geographic. 

"With talent and a perfect end, their work did Rajadell millimeter. Therefore it is difficult to resist the urge to touch the cloth to check that it is not a smooth coat. " 
Claudia Dubkin - U.S. Magazine - 1993/26/07