Национальный музей Королевы Софии. http://museoreinasofia.mcu.es/e/colecc/sala03/11876.htm
|
| Гойя. Семья Карлоса IV |
10 сентября 1992 года король Испании Хуан Карлос и королева София торжественно открыли в Мадриде постоянную экспозицию Национального Музея - Центра искусств Королевы Софии. До этого времени в центре проходили только временные выставки, теперь же он должен был стать настоящим художественным музеем, неуклонно расширяющим свои коллекции и выставляющим их на публичное обозрение.
Здание, в котором разместился музей, имеет свою интересную историю: во второй половине 18 века по проекту архитектора Франсиско Сабатини началось строительство новой больницы, однако проект не был осуществлен в первоначальном виде и здание периодически перестраивалось. В 20 веке его собирались снести, но королевским указом в 1977 году оно было объявлено "историческим памятником". В 1980 году под руководством Антонио Альба началась реставрация здания старинной больницы, реконструкцию продолжил Х.Л. Инигес де Онзоно и А.Васкес де Кастро. Среди наиболее значительных нововведений - три лифтовые шахты из металла и стекла. Наконец, в 1986 году в здании открылся Центр искусств Королевы Софии, здесь стали проходить временные выставки и другие мероприятия.
В 1988 году Центр стал Национальным музеем, по королевскому декрету он должен был заменить Испанский музей Современного искусства.
При составлении коллекции, ставшей основой постоянной экспозиции Национального музея Королевы Софии, принимались во внимание следующие цели: в хронологическом порядке осветить испанское искусство 20 века, не забывая о сравнении с художниками других стран, особенно теми, творчество которых так или иначе связано с искусством Испании. При этом основной упор делается на ведущие художественные течения в испанском искусстве, а также вкладе в них творчества отдельных художников, их сближения и расхождения с основными тенденциями течений.
Коллекция делится на две части: первая посвящена авангардным течениям прошедших лет 20 века, вторая - современному искусству Испании.
Осмотр музея начинается с зала, где собраны работы испанских художников, творивших в самом начале 20 столетия и являющихся непосредственными предшественниками авангарда. Еще в конце 19 века в Испании сложились два основных центра развития искусства - Каталония и Страна Басков. Течение "каталанский модернизм" представляет Рамон Касас, выдающийся портретист, который изображал социальные и политические события того времени. Его картинам свойственны строгость композиции и цветовой гаммы.
В том же русле, но в жанре пейзажа творили другие каталанские художники - Сантьяго Русиньол и Хоакин Мир. Картины Дарио де Регойос, который также жил и создавал свои произведения в Каталонии, представляют собой изображения открытых пространств с использованием техники дивизионизма (называемой также техникой пуантилизма и представляющей собой использование отдельных мазков или точек).
В начале 20 века всемирное признание получили Франсиско Итуррино, Хуан де Эчеварриа и Игнасио Зулоага - художники из Страны Басков. Итуррино был единственным испанским живописцев, в полной мере развивавшим эстетические принципы фовизма - течения, зародившегося во Франции, главным представителем которого является Матисс. В коллекции музей представлено также течение "ноусентизм", возникшее как реакция на модернизм. Один из представителей "ноусентизма" - Еухенио Д'Орс, он поддерживал создание нового художественного и литературного классицизма. К этому движению обычно относят и Исидро Нонелля, который, однако, во многом выходит за его рамки.
Художник Англада Камараса избежал влияния "ноусентизма" и развивал собственный стиль, близкий к модернизму и символизму. sofia1 - NONELL MONTURIOL, Isidro "Niebit" 1909 Oil on canvas 130 x 88 cm sofia2 - ANGLADA-CAMARASA, Hermenegildo "Retrato de Sonia de Klamery, Condesa de Pradre" 1913 sofia3 - MIR I TRINXET, Joaquin "La encina y la vaca" 1915 sofia - REGOYOS Y VALDES, Dario de "La vina" (1) 1900 sofia4 - ECHEVARRIA Y ZURICALDAY, Juan de "Retrato de Iturrino" 1919 sofia_2 ZULOAGA Y ZABALETA, Ignacio "El violonista Larrapidi" 1910 Next to the room devoted to the first avant-garde movements, although completely independent of it, is the room dedicated to Jose Gutierrez Solana, one of Spain’s most original artists and the creator of a form of Expressionism all his own. In spite of the noteworthy originality of his works, his way of working lay in deeply traditional Spanish origins -Valdes Leal, Ribera, Goya, Zurbaran, even El Greco and the early work of Velazquez- although there is one non -Spanish exception- Brueghel the Elder. Highly-defined outlines edging the motifs and powerful brush-strokes distributing the colour are outstanding features of his technique. Both of these -the outline and the colour field- produced dramatic scenes of a sturdy compositional structure. In Solana’s later years -a period which spanned the 20s- his canvases were usually large in size, thus contributing to the increased monumentality of the characters portrayed on them. Colour was applied with greater harmony and more richly than in his early paintings and, in general, his palette was lighter and more highly perfected. Among Solana’s subjects, three are particularly evident: those related to the people, streets and popular fiestas of Madrid; those depicting the habits and customs of the Espana Negra ("Dark Spain"); and the portraits. sofia5 - SOLANA, Jose Gutierrez "La visita del obispo" 1926 sofia6.jpg - SOLANA, Jose Gutierrez "La procesion de la muerte" 1930 The starting point of the international avant-garde lay in Cubism with Paris as one of its centres. Although some of the leading figures were Spanish artists like Picasso and Juan Gris, the avant-garde movements were not heard of in Spain until World War l, when artists, such as Sonia and Robert Delaunay, Francis Picabia and Rafael Barradas visited the peninsula. The development from Noucentista classicism to a form of painting which, concerned with depicting the dynamism of the modern city, fell back on the resources of Cubism and Futurism, is evident in the works of the Uruguayan Joaquin Torres Garcia. Furthermore, the works of Rafael Barradas, also from Uruguay and the founder of a tendency known as "Vibrationism", have many features in common with those of Torres Garcia, who was a member of the Paris Abstraction-Creation group and published his views on Universalismo constructivo ("Constructive Universalism") in 1941. Sonia and Robert Delaunay and Francis Picabia visited Spain during World War l. The Delaunays were associated with two avant-garde tendencies: "Simultaneism" and Orphism. Picabia’s work developed from Cubism into a form of enigmatic painting preoccupied with machines and mechanisms and almost always provocative in its sexual symbology. Jacques Lipchitz and Henri Laurens are examples of the range and limitations of Cubism sculpture. In some of his works, the former mixed elements of Cubism with features of primitive totemism. Laurens progressively turned Cubism analysis to a form of figurative art which brought together classicism and primitivism. Maria Blanchard, a great friend of Juan Gris’s and a faithful follower of his aesthetic principles, accepted and even encouraged Cubism as a new form of classicism, a concept championed by Josep Maria Junoy and Eugenio D’Ors. sofia_3 - DELAUNAY, Sonia (Stern, Sophie) "Dubonnet" 1914 sofia7 - BLANCHARD, Maria Gutierrez-Cueto "Composicion cubista" 1916 sofia8.jpg - BARRADAS, Rafael (Perez Gimenez Barradas, Rafael) "Atocha" 1919 The second room in the Permanent Collection in devoted to Juan Gris, who began his career as an artist in the field of graphic illustration. He came into contact with Picasso when he moved to Paris in 1906, and he was soon to develop his own form of Cubism which crystallised around 1913. The pictures from this period of quite clearly reflect the changes that had taken place since his early work. The volumetric appearance typical of the objects in his first pictures has almost completely disappeared and space is fragmented through a grid of horizontal and vertical lines. Most of the works exhibited in this room belong to the productive period of between 1915 and 1925. In all of them the initial complexity of the motifs prompted a more pronounced desire for synthesis with the objects divested of incidental elements. In the last years of Gris’s life, his works went through major changes, reflecting a deeper interest in the human form and the possibilities of its synthetic composition. There is a rich flow of ideas between his oils and sketches, from which a strong figurative aspect and a classical form of conception are never absent. Such classicism is possibly Gris’s most personal contribution to Cubism. sofia9 - GRIS, Juan (Gonzalez, Jose Victoriano) "Guitarra ante el mar" 1925 The sculptural works of Pablo Picasso apart, Julio Gonzбlez and Pablo Gargallo are the most important Spanish avant-garde figures in this field. Both Gonzбlez and Gargallo were great craftsmen in the field of non-forget metal -avant-garde sculpture’s great contribution to art. This room, dedicated to Pablo Gargallo in the Permanent Collection, exhibits some of his most important works from between the two world wars, when he was at the peak of his career. They demonstrate his mastery in "modelling" space and in making it form as much a part of the work as the material used. In the late 20s, having put aside the Modernista connotations of his previous works, Gargallo took up a new form of expression in which first the concave form and later the hollow played an important part as a plastic element or positive volume. All this was possible thanks to Gargallo’s work in wrought and cut-out metal. An excellent example of this expressiveness are his works on the theme of the prophet, begun in 1904. Having already made sculptures, drawings and sketches for the subject, he finally gave expression to the idea in his largest work, entitled El gran profeta ("The Great Prophet"). sofia10 = GARGALLO CATALAN, Pablo "Grand Prophete" 1933 The room dedicated to the work of Pablo Picasso consist of several areas corresponding in chronological order to the different stages in the painter’s career. The Permanent Collection revolves around this room, due not only to Picasso’s importance to the history of 20th-century art but also to the high standard of the works exhibited. The exhibition begins with Mujer en azul (1901) ("Woman in Blue", 1901), situating us at the beginning of the 20th century. Despite the innovative character of this painting, especially in Picasso’s conception of colour and the expressiveness of the subject, it is still possible to see traces of the influence of naturalistic Symbolism, a field in which the artist from Malaga was a master. In the centre of the room is the work entitled Guernica; it is a faithful reflection not only of an age but also of painful and dramatic circumstances. This picture was commissioned by the government of the Spanish Republic in 1937 for the Spanish Pavilion at the Exposition Internationale des Arts et Techniques dans la vie moderne, commonly know as the 1937 Paris World Fair. Stunned by the news of the bombing of the Basque town (from which the painting takes its title), Picasso painted this huge canvas. Its main subjects are the horse and the bull -from the world of bullfighting- and the mother fleeing with her dead child in her arms. Neither in Guernica itself nor in the preparatory studies is there anything that can be identified with the conflict taking place in Spain at the time: there are no weapons, bombs, soldiers or planes. The motifs he chose came from the iconography of his previous works and were always closely connected with events in his private life. This is one reason why Guernica has given rise to so many controversial interpretations. . In addition to Guernica and the studies for it, this room contains works dating from 1912 to 1963, among them Naturaleza muerta (los pajaros muertos) ("Still Life, Dead Birds", 1912), the sculptures Mujer en el jardin ("Woman in a Garden", 1929-30), La dama oferente ("Woman with a Vase", 1933) and El hombre del cordero ("Man with a Lamb", 1943), and the paintings Figuras al borde del mar ("Figures on a Beach", 1932), Mujer sentada ("Seated Woman", 1939) and Mujer sentada en un sillon gris ("Woman Seated in a Grey Chair", 1939), which bring this look at the various periods in Picasso’s career to an end. sofia11.jpg - PICASSO, Pablo Ruiz "La mujer de azul" 1901 sofia12 - PICASSO, Pablo Ruiz "Naturaleza muerta (los pajaros muertos)" 1912 sofia13 - PICASSO, Pablo Ruiz "La mujer en el jardin" 1929-30 This room is dedicated to the works of Joan Miro, particularly his pictures. The exhibition begins with a number of oils painted when he was in closet contact with the Surrealist group, between 1923 and 1929, although it is true that Mirу always remained independent of groups and ideologies. At this time he painted a number of Automatic pictures and in 1929-30 began on his collages. This process led him to take an interest in the object in itself and resulted in his famous surrealistic sculptures. 1934 saw the appearance of his tormented monsters, which gave way in 1938 to the consolidation of his plastic vocabulary. His final period was approximately from 1967 until his death in 1983. It is characterised by large dimensions, gestural aspects, the freshness with which his pictures were painted, the special attention he paid to the material he used, and by the influence of informalism. The iconographic repertoire of Mirу’s later years was not greatly different from that of his earlier periods. The motifs were the same (women, birds, stars, constellations, the sun, the moon...), but the importance he attached at this time to the subject in itself was relative, for what really interested Mirу was the point of connection between the world of the conceptual and the world of artistic expression and, above all, the way in which this could be captured on the canvas sofia14 - MIRO FERRA, Joan Homme a la pipe" 1925 sofia15 - MIRO FERRA, Joan "Portrait II" 1938 Salvador Dali painted his first pictures in 1917 and 1918, influenced during this initial period by several tendencies. The period between 1922 and 1923 and approximately up to 1928 saw his so-called Cubist phase, in which the influence of Cubism was mixed with the evocation of motifs from metaphysical painting. During this phase, one year -1925- is particularly interesting, for, due to his close relationship with Federico Garcia Lorca, he entered what has been called his "Lorquiano" period. Also in 1925, Dali painted beautiful canvases in a classical style subsequently taken up by movements such as the Nue Sachlichkeit and Valori Plastici. In 1927, he again became deeply interested in Cubism, but with a style all his own and adapted to the laws of his own personality. Subsequently, in 1928, he settled in Paris, where great changes took place in his form of art. In the French capital he came into contact with the Surrealists. Al the beginning the painted a number of almost completely abstract oils. In 1929, he painted what were to be his best-known Surrealist works, in which abstract motifs gave way to elaborate figurativeness. The most innovative aspect, however, came with his invention of a new system allowing him access to the images of his subconscious -the paranoiac critical method. The works chosen for the room dedicated to Salvador Dali illustrate the main creative periods in the painter’s career. sofia16 - DALI DOMENECH, Salvador "Muchacha en la ventana" (la hermana del artista) 1925 sofia17 - DALI DOMENECH, Salvador "Monumento imperial a la mujer nina" 1929