Spain

Paz Errázuriz’s photography – Madrid – Spain

Evelyn I, Santiago, from the series Adam’s apple, 1987 Gelatin-silver print Daros Latin America Collection, Zürich

Evelyn I, Santiago, from the series Adam’s apple, 1987
Gelatin-silver print
Daros Latin America Collection, Zürich

 

Until February 28th, 2016 – FUNDACIÓN MAPFRE Bárbara de Braganza – Exhibition Hall
Paz Errázuriz’s photography emerged in her native country, Chile, in the first half of the 1970s in a political context dominated by the brutality of the Pinochet dictatorship.

special-forces

Her first steps were influenced by an extremely tense and uncertain social situation which affected the lives of opponents of the coup d’êtat. Going out on the street with a camera was risky for anyone aiming to capture events as they happened and was also perceived as a threat by the military regime. It was even less common to see a woman undertaking the type of investigations characteristic of photography.

In 1980 Paz Errázuriz presented her first solo exhibition, entitled Personas [People], at the Instituto Chileno-Norteamericano in Santiago. The following year she and some fellow photographers co-founded the Asociación de Fotógrafos independientes (AFI).

Miss Piggy II, Santiago, from the series The circus, 1984 Vintage gelatin-silver print Courtesy of the artist

Miss Piggy II, Santiago, from the series The circus, 1984
Vintage gelatin-silver print
Courtesy of the artist

During that dark period, Errázuriz’s self-taught photographic gaze focused on homeless people sleeping rough, scraping a living or destitute. This series, Los dormidos [The sleepers], offers a notably unheroic vision of the country, immersed in poverty. Also at that time and throughout the 1980s, Errázuriz turned her inquisitive eye on the lifestyles of the country’s wealthy classes, who displayed their fortunes in the areas of Las Condes and La Dehesa in Santiago.

Fundacion Mapfre


Sorolla. The Colour of the Sea – Barcelona – Spain

Joaquín Sorolla. Nadadores, Jávea. Firmado. 1905. Óleo/lienzo, 90 x 125 cm. Museo Sorolla, Nº Inv. 719. © Fundación Museo Sorolla

Joaquín Sorolla. Nadadores, Jávea. Firmado. 1905. Óleo/lienzo, 90 x 125 cm. Museo Sorolla, Nº Inv. 719. © Fundación Museo Sorolla


From 12 June to 14 September 2014 – CaixaForum Barcelona

The sea is the theme in the painting of Joaquim Sorolla. Born in Valencia in 1863, Sorolla’s life was closely linked to the landscapes of the Valencian coastline, the Balearic Islands and the north of Spain, which he captured with extraordinary mastery. Sorolla. The Colour of the Sea explores the painter’s gaze, his personal approach to painting “the natural” and using colour, focusing on a group of works devoted to what was both his favourite and the most popular theme of his painting: the sea.

Joaquín Sorolla. Saliendo del baño. Firmado y fechado. 1915. Óleo/lienzo, 130 x 150 cm. Museo Sorolla, Nº Inv. 1115. © Fundación Museo Sorolla

Joaquín Sorolla. Saliendo del baño. Firmado y fechado. 1915. Óleo/lienzo, 130 x 150 cm. Museo Sorolla, Nº Inv. 1115. © Fundación Museo Sorolla

 

Joaquín Sorolla. Estudio de mar, Valencia. 1904. Óleo/lienzo, 28,5 x 53 cm. Museo Sorolla, Nº Inv. 710. © Fundación Museo Sorolla

Joaquín Sorolla. Estudio de mar, Valencia. 1904. Óleo/lienzo, 28,5 x 53 cm. Museo Sorolla, Nº Inv. 710. © Fundación Museo Sorolla


T
he exhibition features 80 works, above all canvases, complemented by a number of panels and cards, easy to carry, on which Sorolla painted notes from nature and which are key to understanding the way he worked.

CaixaForum Barcelona


Surrealism and the Dream – Madrid – Spain

Salvador Dalí - Dream caused by the Flight of a Bee around a Pomegranate one Second before waking - 1944 - Oil on panel - 20" × 16 inches - 51 × 41 cm - Thyssen-Bornemisza Museum, Madrid - © Salvador Dalí, Fundación Gala-Salvador Dalí / VEGAP, Madrid 2012

Salvador Dalí – Dream caused by the Flight of a Bee around a Pomegranate one Second before waking – 1944 – Oil on panel – 20″ × 16 inches – 51 × 41 cm – Thyssen-Bornemisza Museum, Madrid – © Salvador Dalí, Fundación Gala-Salvador Dalí / VEGAP, Madrid 2012

From 08 October 2013 to 12 January 2014 – Museo Thyssen-Bornemisza
Surrealism was not just another artistic movement but an attitude to life that has left a profound mark on all subsequent artistic creation. For the first time this exhibition will reveal how this transformation of modern sensibility had its roots in the profound connection between dream and image in Surrealism. Paintings, drawings, collages, sculptures and photographs by artists such as André Breton, Salvador Dalí, Paul Delvaux, Yves Tanguy, René Magritte, André Masson, Max Ernst, Jean Arp, Claude Cahun and Paul Nougé will be used to construct an overview of this fascinating relationship proposed by the curator José Jiménez, to which little attention has been given in art-historical studies. From the outset, the Surrealists championed the dream together with automatic writing, seeing them as fundamental routes towards the liberation of the psyche. While Freud’s thinking, in particular his great work The Interpretation of Dreams (1900), was crucial for the Surrealists’ own approach to the world of dreams, they were more than mere followers of his ideas. For them, the dream was a field of experience different to that of conscious life, and knowledge of it was essential for the enrichment and expansion of the psyche.

“Each morning when I awake, I experience again a supreme pleasure, That of being Salvador Dalí.”
— Salvador Dalí

Museo Thyssen-Bornemisza


Camille Pissaro – Madrid – Spain

Camille Pissarro - Field of Cabbages, Pontoise - 1873 - Carmen Thyssen-Bornemisza Collection on deposit with the Museo Thyssen-Bornemisza, Madrid

Camille Pissarro – Field of Cabbages, Pontoise – 1873 – Carmen Thyssen-Bornemisza Collection on deposit with the Museo Thyssen-Bornemisza, Madrid


From 04 June to 15 September 2013 – Museo Thyssen-Bornemisza

The Museo Thyssen-Bornemisza presente the first monographic exhibition in Spain on the Impressionist painter Camille Pissarro (1830-1903). A key figure within Impressionism (he wrote the movement’s foundational letter and was the only one of its artists to take part in all eight Impressionist exhibitions from 1874 to 1886), Pissarro was nonetheless eclipsed by the enormous popularity of his friends and colleagues, in particular Claude Monet. Over 80 works – views of the Seine, Parisian perspectives, portraits and self-portraits –and among them the venerable with the long white beard – show how Pissarro was a gifted guardian of the temple. But he never dared the chromatic audacities Monet imagined or the virtuoso group scenes Renoir was so successful at.

Camille Pissarro - Self Portrait - oil on canvas - 1903 - 41 X 33 cm - Tate Britain

Camille Pissarro – Self Portrait – oil on canvas – 1903 – 41 X 33 cm – Tate Britain


T
he exhibition aim to restore Pissarro’s reputation and presenting him as one of the great pioneers of modern art. Landscape, the genre that prevailed in his output, will be the principal focus of this exhibition, which offers a chronologically structured tour of the places where the artist lived and painted: Louveciennes, Pontoise and Éragny, as well as cities such as Paris, London, Rouen, Dieppe and Le Havre. While Pissarro is traditionally associated with the rural world, to which he devoted more than three decades of his career, at the end of his life he shifted his attention to the city and his late output is dominated by urban views.

Museo Thyssen-Bornemisza


Picasso de Málaga – Málaga – Spain

Pablo Picasso. Retrato de la tía Pepa. Málaga, junio-julio, de 1896. Foto: Gassull Fotografia. Museu Picasso, Barcelona © Sucesión Pablo Picasso, VEGAP, Málaga, 2012

Pablo Picasso. Retrato de la tía Pepa. Málaga, junio-julio, de 1896.
Foto: Gassull Fotografia. Museu Picasso, Barcelona © Sucesión Pablo Picasso, VEGAP, Málaga, 2012


From February 25 to June 9, 2013. – Museo Picasso – Palacio de Buenavista

What did Picasso look like before being Picasso? That is the question put forward by the museum dedicated to the artist in the city of Andaluzia where he was born on 25 October 1881. He left it when he was young, first for the Coruña , then to Barcelona and Paris, and he never returned after 1901.

Pablo Picasso.El viejo pescador, 1895. © Museo de Montserrat © Sucesión Pablo Picasso, VEGAP, Málaga, 2013.

Pablo Picasso.El viejo pescador, 1895.
© Museo de Montserrat © Sucesión Pablo Picasso, VEGAP, Málaga, 2013.

The 53 works presented show a promising but academic painter, trained in a cultivated but provincial family under the control of his father, both a drawing professor and the curator of the local museum. Most of the paintings present his family, the port, the fishermen and the artisans. In order to give a wider panorama of this city in southern Spain, the exhibition also includes works by some thirty artists from the same era.

Museo Picasso Málaga


The Young Van Dyck – Madrid – Spain

Self-portrait – Van Dyck – Oil on panel, 43 x 32.5 cm – ca. 1615 – Vienna, Gëmaldegalerie der Akademie der Bildenen Künste


20 november 2012 – 3 march 2013 – Museo Nacional del Prado

The Prado had no problem setting up with the help of the Boijmans van Beuningen museum in Rotterdam and a great number of international lenders, a very wealthy exhibit with some one hundred works of art that show the fullness of the youth’s genius.

Drunken Silenus, Van Dyck, oil on canvas, 107 x 90 cm, Dresden, Gemäldegalerie Alte Meister der Staatlichen Kunstsammlungen


B
etween approximately 1613 and 1618, the year when he registered as a master in the painters’ guild, Van Dyck worked in a variety of styles. In what are probably his earliest pictures he appears tentative in his rendering of anatomy. But even then he shows a strong personality and an experimental bent, which can be seen in his taste for rugged types and textured surfaces, both of which are different from what was common in Antwerp at the time.

Paintings such as the Drunken Silenus and The Lamentation are more accomplished than pictures displayed earlier in this exhibition. They show Van Dyck experimenting with modes of expression associated with Venetian and early Netherlandish painting… read more on the museum site

Museo Nacional del Prado


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