(Español) Las Medallas de la AEPE: Juan Bautista Adsuara

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(Español) Las Medallas de la AEPE: Francisco Pradilla

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(Español) Las Medallas de la AEPE: Juan Cristóbal

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(Español) Las Medallas de la AEPE: Antonio Casero Sanz

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(Español) Las Medallas de la AEPE: Fructuoso Orduña

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Las Medallas de la Asociación Española de Pintores y Escultores

La Medalla de Fructuoso Orduña

Por Mª Dolores Barreda Pérez

La Junta Directiva de la Asociación de Pintores y Escultores celebrada el 10 de febrero de 2017, aprobó la propuesta planteada por el Presidente de la centenaria entidad, José Gabriel Astudillo López, relativa a la reorganización de los premios y galardones que otorga la institución en los distintos certámenes y concursos habituales.

     Los análisis realizados por la Junta Directiva sobre el más que positivo aumento del número de esculturas que se presentan en cada convocatoria, hacían necesario distinguir definitivamente las secciones de pintura y escultura, dotándolas con premios bien diferenciados, de forma que no compitan entre sí dos elementos tan distintos y cuyo contenido da nombre a la Asociación Española de Pintores y Escultores.

     Ante esta situación, se hizo imprescindible revisar y reformar las bases de las distintas convocatorias que lleva a cabo la AEPE, y teniendo en cuenta que algunas de ellas tenían medalla propia, aunque sin especificar si era de pintura o de escultura, se hacía del todo necesario analizar los premios y distinciones que hasta la fecha otorgaba la institución, planteando una propuesta justificada del por qué y del cómo hacer bien las cosas.

     Es triste y descorazonador pensar que las distinciones y los premios, más allá de la pura anotación que nos queda en la actualidad, no tienen ningún tipo de soporte documental ni histórico. Más descorazonador aún pensar que hay medallas con reglamento específico del que no sabemos nada pese a haber visto la luz en nuestra entidad.

     El extravío de la documentación que se custodia en la institución, en el transcurso de los años, de forma cotidiana y habitual, nos priva de archivos históricos más completos en los que apoyarnos y poder entender mejor el cómo y por qué de cada acción.

     Partiendo del documento base de la Asociación Española de Pintores y Escultores que nos proporciona un mínimo soporte histórico como es el libro de la Historia elaborado por el Bibliotecario, Fernando de Marta y Sebastián, vamos a tratar de saber cómo y cuándo nacieron los premios y distinciones, y sobre todo, por qué y con qué fin, nacen los nuevos para cubrir la necesidad planteada de distinguir entre disciplinas artísticas.

Pero antes de nada, debemos saber más acerca de la Medalla de la Asociación Española de Pintores y Escultores.

Fructuoso Orduña, Presidente de la Asociación de Pintores y Escultores y autor de la Medalla de la AEPE

Creación de la Medalla

Bajo la presidencia de Pedro Poggio y siendo Secretario General Pedro García Camio, se reúne la Junta Directiva, informándose de ello en la Gaceta del 15 de junio de 1926, en donde aparece publicado textualmente, bajo el título de “Una Medalla de Oro”: “La Asociación de Pintores y Escultores, y por acuerdo de la Junta Directiva, ha creado una “Medalla de Oro” que, al igual que la del Círculo de Bellas Artes de Madrid, será otorgada en las Exposiciones Nacionales, y por primera vez en la actual Nacional que se celebra en el Retiro. Ha movido a ello, no sólo el deseo justificadísimo de que nuestra Asociación, a este respecto, no fuera menos que cualquier otra entidad, sino, además, el afán de acuciar la creación de premios especiales, de que tan faltas están nuestras Exposiciones. Da grima, en verdad, comparar cómo se estimula a los artistas, por los particulares, en otros países y lo muy poco que en España se hace en este aspecto. Esta nueva “Medalla de oro” será obra del escultor Fructuoso Orduña, que se ha ofrecido a modelarla gratuitamente”.

“Su valor no será inferior a 500 pesetas, cantidad que se recaudará por suscripción, agradeciendo mucho que los que deseen suscribirse lo hagan rápidamente, pudiendo dirigirse para ello a esta Secretaría, Jovellanos, 8, Madrid. (La tan repetida Medalla será otorgada en las mismas condiciones que la de Honor, y firmando el votante la candidatura)”.

El día 12 de junio se celebró la votación de la Medalla de Oro de la Asociación de Pintores y Escultores en la Exposición Nacional de Bellas Artes de 1926, otorgándose a Martínez Vázquez por su cuadro “La Rondeña”. La Gaceta de Bellas Artes del 1 de junio de 1927 (Año XVIII, Núm. 313) publicó en su portada una fotografía original de Moreno, (Pl. de las Cortes, 8), del Anverso de la Medalla de Oro creada por la Asociación de Pintores y Escultores, para ser concedida en las Exposiciones Nacionales, obra del escultor Fructuoso Orduña.

Medalla de la AEPE obra original de Fructuoso Orduña

La Medalla en el Salón de Otoño


Portada de la Gaceta de Bellas Artes del 1 de junio de 1927 (Año XVIII, Núm. 313)

El I Salón de Otoño de 1920 nació …“Sin recompensas, sin presiones, sin apasionamientos, sin envidias ni prejuicios, el próximo Salón Otoñal ha de ser, no el campo de batalla de odiosas comparaciones, sino el santuario en el cual cada manifestación, cada destello tenga su propio altar, su merecido respeto y sus creyentes, todo en un ambiente de paz, de dulzura y compañerismo, que haga de ella en los años sucesivos el lugar consagrado a la libertad, a la igualdad y a la fraternidad de los artistas y sus admiradores”…”Íntegro, sin prejuicios, en apretado haz, los artistas españoles inaugurarán, entregando al juicio público, al de la Prensa y a los altos poderes de toda clase, de quienes esperarán tranquilos el fallo”…

Como vemos, el Salón de Otoño nació con la idea de exhibir solo las obras, pero no otorgar ningún tipo de recompensa ni distinciones.

Sin embargo, en el III Salón de Otoño de 1922, y con la aprobación de la Junta General de 25 de mayo de ese mismo año, ya se hicieron propuestas de socio para los que no lo eran, propuestas que incluían la exención de la cuota de entrada, y para los que ya eran asociados se proponía que se les pudiera nombrar Socio de Mérito o Socio de Honor.

De esta forma, las primeras recompensas en un Salón de Otoño se otorgaron en el III Salón de 1922 y fueron el nombramiento de Socios de Honor, que según resaltaba el Reglamento, se acordaron por mayoría de votos, y que recayeron en José Moreno Carbonero, Julio Moisés, Jaldón, José Gutiérrez Solana y Miguel de la Cruz.

Así transcurrieron los salones hasta el año 1936, en que la actividad de la Asociación de Pintores y Escultores se vio interrumpida por la contienda civil.

En mayo de 1939, el Secretario de la entidad, José Prados López, envió una carta a los socios, que se difundió en los distintos medios de comunicación de la época, en la que rogaba a los artistas que poseían la Medalla de Oro de las Exposiciones Nacionales de Bellas Artes, para que la entregasen en un acto altruista que ayudara a la reconstrucción de la España de la posguerra.

Toda la prensa recogió esta solicitud y la generosidad de los artistas que finalmente la entregaron, insistiendo en la voluntariedad del acto, y a quienes se les ofreció recibir otras medallas fundidas en inferior metal, para recuerdo.  

El plazo inicial fue hasta el 31 de mayo, pensando poder entregarlas al Vicepresidente del Gobierno el día 2 de junio, pero esta audiencia no tuvo lugar hasta el día 17, cuando el Conde de Jordana recibió en Burgos a la Junta Directiva de la Asociación y aceptó para el Tesoro Nacional las primeras 15 Medallas recibidas.

Entre quienes desinteresadamente las aportaron, y cabe recordar que dichas Medallas eran ciertamente de oro, figuran Mariano Benlliure, Aniceto Marinas, José Garnelo y Alda, Fructuoso Orduña, Daniel Vázquez Díaz, José Gutierrez Solana, Julio Prieto Nespereira, José Bueno Gimeno, Jacinto Higueras Cátedra, Eugenio Hermoso, Eduardo Chicharro Chicharro, José Ortells…

En la Junta Directiva del 15 de marzo de 1940, bajo la presidencia de Fructuoso Orduña y siendo Secretario José Prados López, se decidió que la leyenda de las medallas de bronce que sustituían a las medallas de oro entregadas por los artistas fuera: “España, por tu oro, te devuelve este honor -1940”, y de ellas se hicieron cincuenta ejemplares, aunque en una Junta anterior se habían aprobado 30, que fueron hechas por la Casa Teu, sobre el modelo realizado por José Ortells. Dichas medallas fueron entregadas por Juan de Contreras y López de Ayala, más conocido como el Marqués de Lozoya, que ocupaba el cargo de Director General de Bellas Artes, en su despacho oficial el 17 de junio de 1940.

Como veíamos anteriormente, hasta este momento, las recompensas del Salón de Otoño se limitaban a los nombramientos honoríficos de Socios de Honor y de Mérito.

En 1942, para el XVI Salón de Otoño, se establecen por primera vez premios económicos, que conviven con los honoríficos: el Ministerio de Educación Nacional aportó 10.000 pesetas, y 1.000 pesetas el Ayuntamiento de Madrid y la Diputación Provincial de Madrid otras 1.000.

Para el XIX Salón de Otoño de 1945 la Dirección General de Bellas Artes concedió 10.000 pesetas para premios-adquisición de obras con destino al Museo de Arte Moderno.

También hubo premios de 5.000 pts del Banco de España, de 2.500 del Duque de Alba y del Marqués de Aledo, así como los ofrecidos por el Ayuntamiento y la Diputación de Madrid.

En principio, los premios del Salón los votaban los mismos expositores, pero en Asamblea Extraordinaria del 14 de enero de 1946 se llegó al acuerdo de nombrar un jurado que quedó formado por Daniel Martínez Vázquez y José Prados López, en representación de la directiva y por los pintores Joaquín Valverde y Gregorio Toledo, y el escultor Juan Adsuara, designados por la Asamblea General. Finalmente Adsuara fue sustituído por José Ortells.

Los premios a otorgar fueron, además de los de la Dirección General de Bellas Artes, otros dos de 2.500 pesetas del Marqués de Aledo y del Duque de Alba, y se había establecido que los primeras medallas presentados al salón no obtasen a premios.

El hijo de Martínez Vázquez pidió ser considerado fuera de concurso al haber sido designado su padre como jurado, y Planes decidió no aceptar el cargo para el que, al parecer, fue votado, por la misma razón de que se presentaba su hijo.

Para el XXII Salón de Otoño de 1948, y por acuerdos de la Asamblea General, se establecían por primera vez medallas de primera, segunda y tercera clase, para pintura, escultura, grabado y dibujo y arte decorativo en general, distinguiéndose en pintura entre figura y paisaje. La acuarela estaba incluida en la pintura.

El número de medallas para pintura fue de dos, cuatro y seis respectivamente para primera, segunda y tercera clase y fueron concedidas por voto escrito y firmado de los expositores y, posteriormente, los premios en metálico asignados por el mismo procedimiento de voto entre los medallados, recayendo entre ellos mismos.

Las medallas así establecidas se dejaron de adjudicar a principios del siglo XXI, siendo retomadas en el año 2014 por el Presidente de la AEPE José Gabriel Astudillo López, si bien no de la misma forma.

Simultáneamente, continuaban los nombramientos de Socio de Honor y de Socio de Mérito entre 1942 y 1963, a artistas dentro del Salón de Otoño, pero sin tener acreditada su participación en ellos.

A partir de 1963 y para su concesión exclusiva en el Salón de Otoño y fuera de las bases, se creó la Medalla de Honor, formándose para ello expresamente un jurado especial. La última otorgada de esta manera lo fue en el Salón de 1978.

Coincidiendo con la celebración de la última Exposición Nacional de Bellas Artes, la Medalla de Oro que concedía la Asociación de Pintores y Escultores deja de tener sentido, por lo que es muy probable que se decidiera hacer de la Medalla creada por Fructuoso Orduña la pieza “estrella” de los Salones de Otoño, quedando ya para siempre unida a la centenaria entidad y a su más prestigioso galardón.




El Heraldo de Zamora 4 mayo 1939
Anverso de la Medalla de José Ortells para quienes entregaron su Medalla de Oro al Tesoro Nacional

Reverso de la Medalla de José Ortells

Lo que encierra la Medalla

Más allá de lo que formalmente representa, la Medalla de la AEPE constituye la seña de identidad de la centenaria institución. En ella se muestra claramente la capacidad del autor para el estudio anatómico y su excelencia como retratista, con simbología simplificada y líneas en las que las figuras sobresalen con una fuerza y energía acentuadas siempre por su excelente complexión física. Una obra que muestra rotundidad en la composición y un modelado de gran potencia y maestría.

Antes que la recompensa en metálico, que bien es verdad que a nadie le amarga un dulce, obtener la Medalla de la AEPE significaba lograr el reconocimiento del artista, pero no un reconocimiento cualquiera, sino la aprobación y afirmación de otros artistas, y entre iguales, esa hazaña alcanzaba aún más importancia y repercusión.

Que quienes se dedican a la pintura y la escultura, con conocimientos propios de la materia y experiencia personal acerca del mundo de las bellas artes, del difícil mundo del arte, de sus penas y alegrías, sinsabores y vanaglorias, sean quienes reconozcan que el trabajo realizado es digno de una medalla, va más allá de cualquier otro tipo de distinción, puesto que dice mucho a favor de quienes hacen de la creatividad y la calidad, el oficio de los artistas con todos los valores que ello encierra. Por todo ello, lograr la Medalla de la AEPE es un gran honor que quizás pocos artistas puedan aún comprender, pero por el que merece la pena intentar conseguirla.

Sujetamedallas de la AEPE, obra de José Gabriel Astudillo López, Presidente de la AEPE

(Español) Entrevista a Marisa Codina, Gerente de la Fundición Codina

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(Español) José López Jiménez o Bernardino de Pantorba

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Venancio Blanco received the “Medal of Honor” of the Spanish Association of Painters and Sculptors

The sculptor who has revolutionized sacred art, Venancio Blanco, received last Friday February 24 the Medal of Honor of the Spanish Association of Painters and Sculptors, surrounded by numerous friends and partners who did not want to miss this simple tribute to which came numerous Friends and followers of the salmantino artist.

The presidential table was formed by the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo López, by the Vice President of the centenary entity, Juan de la Cruz Pallares García, by the honored guest, Venancio Blanco, the General Secretary of AEPE , Mª Dolores Barreda Pérez, by the Honorary Member and also sculptor Julio López Hernández, who did not want to miss the act, and by the President of the Spanish Association of Art Critics, Tomás Paredes.

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In addition to the son of the honoree, several members of the Board of Directors of the institution were present, such as the members Juan Manuel López-Reina, Alicia Sánchez Carmona, Pedro Quesada, the Treasurer Ana Martínez Córdoba, the Librarian Fernando de Marta and Sebastián , And Presidential Adviser Itziar Zabalza Murillo, as well as various personalities such as Francisco Molina, Prado Workshop Director, Venancio Blanco Foundation Director and many artists and partners.

Full of personal and artistic references, an emotional act took place in which, by way of introduction, the General Secretary, Mª Dolores Barreda Pérez, made a brief tour of the artistic and professional career of the renowned painter with a special emphasis on providing those present with an outline Summarized as Venancio Blanco, and not only his biography, with data and dates cold and distant, but introducing those present in life, thinking and a little bit in the artist’s magical soul.

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Because of the intimacy of his words and the fiery defense of his human profile, we next describe the entire intervention of the General Secretariat:

“Ladies and gentlemen, dear partners and friends, very good afternoon to all and welcome to this common house which is the Spanish Association of Painters and Sculptors.

Today we celebrate the act of imposing the Medal of Honor of the entity to D. Venancio Blanco.

This is a sincere and heartfelt act that the only thing that pretends is to pay homage to a great artist, a great person.

I must here recapitulate his artistic career in great strokes, but what about a genius like him … I think I would always fall short.

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From his relationship with this Spanish Association of Painters and Sculptors I can cite you that Venancio has participated in the National Exhibitions, of which he has the First Medal, and has been several times a member of the Autumn Hall Jury, the last time in the year 1990, when it arrived at the edition number 57 of traditional contest.

From his biography, as on previous occasions that this award has been granted, I would like to send you to any encyclopedia, or better yet, to the Venancio Blanco Foundation website, where you will find detailed information about his life, which I will trace only a few lines, since what interests us here is the human profile of a great man like Venancio Blanco.

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Venancio Blanco was born in 1923 in Matilla de los Caños del Río (Salamanca), but later he was raised in the neighboring town of Robliza de Cojos, cattle ranches with bulls and oak trees, which will mark his work.

He studied in the Elementary School of Work and in the Applied Arts and Crafts of Salamanca and in the School of Fine Arts of San Fernando in Madrid.

In Italy, he discovered sculpture, not only as an element of artistic expression, but as a way of life. There he learned the whole process of casting bronze. And as he says: “Rome has been everything to me.”

Much later he would discover the classical Greece where he was ecstatic of this dispossession of formal essences, in the total purification he had always sensed and found there.

Professor of Modeling at the School of Arts and Crafts of Madrid, he is an Academic of Fine Arts and a corresponding member of the Pontificia Insigne Artistic Academy of the Virtuosi to the Pantheon, as well as many others such as the Royal of Santa Isabel de Hungary of Seville, the Real de Córdoba and the Purísima Concepción of Valladolid.

In 1981 he was appointed director of the Spanish Academy of Fine Arts in Rome.

The work of Venancio turns in two great subjects: the religious one and the bullfighting.

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In the religious theme they coincide their aesthetic and spiritual concerns with the renewal of the Second Vatican Council, but without neglecting the traditional imagery.

In his tauromachias, which part of the models of Mariano Benlliure, dispenses with the detail of detail to focus on the search for forms with an obvious economy of matter, in a line very close to abstraction.

When he remembers the bull in the field, he does it first with fear, then with respect and later with the ideal of beauty that the animal gives off, transferring it to sculpture, figure, aesthetics and dynamics, to the grandeur of His nobility.

Other themes present in her work are sports, flamenco, cante jondo, the female nude … all expressed through elemental forms that are identified with the overwhelming weight of feeling in the forms. And also as a subject the bullfighters, who at first were impersonal and abstract but who ended up adapting to certain right-handers like the Sevillian Juan Belmonte.

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He is a member of the Six Sculptors group, formed by José Carrilero Gil, Joaquín García Donaire, César Montaña, Benjamín Mustieles and Jesús Valverde.

The group of Six Sculptors was created in the 1960s in Madrid and is part of the neofigurative sculpture, a tendency that shows an interest in representing reality through forms between academic figuration and informalism.

Venancio is a long career full of exhibitions, prizes and recognitions of various kinds, reflecting the art of a sculptor of the best, who has managed to find and maintain the purity of forms, and an optimistic sculptor who has been Always learning and starting.

In 1997 Venancio Blanco created the Foundation that bears his name, aimed at promoting the diffusion of sculpture and drawing in society, especially among young people and children.

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Formed in the wake of the classics within the most up-to-date avant-gardes, Venancio Blanco is a figure in his own right in the art world. Within the currents of naturalism, for some scholars of his work, part of the group next to the neofigurativismo of the Six Sculptors for others and a free genius impossible to be pigeonholed in a concrete tendency for the majority of those who observe his work, the artist salmantino creates With the need to “discover beauty and transmit it,” as he has manifested on many occasions.

Blanco considers life and personal experiences as a succession of workshops that have gone on an endless journey on hundreds of works of art, today spread across our country and beyond our borders.

Like all great artists, he considers indispensable an excellent technical training in drawing and modeling. Proof of this are his own compositions, perfect, inspiring, figurative or schematic, his impressive vision of the void, of voids, which the viewer can understand as the soul of the pieces.

In short, a creation thoughtful, detained, full of sensations that masterfully translates to a material such as bronze.

In his work as a creator there is a constant presence of the drawing that he defines as a mystery. In his own words, “If you know how to draw, you seldom waste time looking anywhere. Drawing is understanding, even of what may be surprise. Beauty is always linked to surprise, to drawing, to life. If you want to enjoy life, you have no choice but to observe nature and watch how the drawing teaches you. The idea, until it finds the matter, is a mental fact. It is the drawing that chooses the ideal material so that the caprice of the idea – almost always the idea is capricious – does not lose its meaning “.

He values ​​the man, the friend, the friendship. He misses the constructive criticism he has always cultivated surrounded by friends and students and is a lover of sense of humor, trust and sincerity.

Artists only give them advice: “to draw every day and to know the different subjects to have the freedom to express an idea. And above all, that every day they have greater illusion “.

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He is proud to be an Academician, because in his own words, “The Academy is full of teachers, who respect the work you do.” And he continues to think that for an artist, being an academic is one of the most important awards.

The humanist aspect of Venancio has influenced all his creative and educational work, which shows us the profound religious dimension of his work. Because Venancio is a Christian artist and a believing sculptor.

Venancio is a man who prays. When today he blushes to confess some beliefs, Venancio is brave and assures that “they taught me to pray as a child, and praying I learned to draw.” The Lord’s Prayer is the first drawing he does every morning, because later, “the ideas are clearer.”

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For all this, Venancio Blanco has contributed to the transformation of the Spanish sacred art, is a reference of the renewal of this art, having to appreciate its capacity to renew the sources of the Christian inspiration from an attitude of faith that equates it to other consecrated artists, For its artistic quality and its creativity, which transcends the anachronism in which religious art was plunged.

His work conveys a strong expressiveness and spirituality, which flood all its forms. The evident gravity of his creations, the tragic dramatism and the stylization towards verticality add all his work to an ascetic world full of hope.

For Venancio, the exercise of sculpture is almost contemplative because being a believing artist, he has become an expert of the transcendent search based on daily dialogue with God, with others and with matter.

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Venancio is a kind, attentive man, knows to listen, reprimand with affection, with desire to encourage and to make the best of each one.

In the course of his work there is no dilemma between abstraction and figuration. Both qualities are always united and inseparable. Reality presents us with forms, apparently understandable, tangible but that carry with them a component of abstraction that is the one that distinguishes and individualizes them.

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That is why, when we enjoy the work of Venancio we can see in it something else that hides behind the surface. A gesture, a texture, the intense stroke done with coal. They are the ones that make drawing or sculpture something that transcends matter. It is what moves us and excites us, it transmits truth, goodness and beauty, three qualities implicit in each of its pieces regardless of the theme.

All this is nothing more than the tangible demonstration of the greatness of his soul, the generosity of his heart and the rectitude of his feelings.

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That is why, for this Spanish Association of Painters and Sculptors, it is an honor to grant this distinction to an excellent sculptor and an extraordinary person.

Venancio: We just want this to be a sign of the deep admiration that all the members and friends gathered here, we feel for your work and the merits for the award of this Medal that today proudly distinguishes you.

Thank you very much”.

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The President then handed the Medal of Honor to Venancio Blanco, who received it excitedly and addressed a few words to those attending in which he could only thank the honor and declare himself happy and excited by the fact of being there, and truly know object Of such special attention.

The President’s words were:

“D. Venancio Blanco, members of the Board of Directors, attending authorities, dear partners and friends, all welcome and thank you for your presence in this act that honors me to preside.

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This Association has always believed that honoring the great artists that Spain has was a duty with history, with the Spanish Association of Painters and Sculptors and with all the people who have demonstrated your love and commitment to this institution and the world Of the fine arts.

Spain is losing the custom of paying homage and monumental tributes to the true geniuses of art. The memory of artistic personalities that magnify our society with its art is no longer glorified or perpetuated. There are no longer any important commissions to make great monuments in which to look for the most permanent sculptural values ​​and of secular validity.

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This is the great demand that I want to make today from this rostrum. From our media, with our grain of sand, we want to pay tribute to one of the great geniuses of the sculpture: Venancio Blanco.

We do not do it with necklaces or decorations, or pompous acts full of media and curious. We do it in a simple, heartfelt and humble way, in a sincere recognition to who has done so much for the sculpture in Spain.

Tomorrow there will be no newspaper headlines or TV reviews because Spain no longer likes to pay tribute or honors.

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To pay homage always ennobles the one who receives it, but it also enhances the one who gives it. Because it is right to praise and recognize who should be admired and respected by his creation and by his example.

Our present society, especially our young sculptors, need references and values, they need momentum and hope. And that’s what Venancio Blanco represents: the humanist values ​​that emerge from his creations are the result of work, effort and sacrifice, which are the only way to success.

But also Venancio Blanco is a reference and example to follow, a man capable of influencing the youth, with the capacity to excite and encourage it to assume the risks that every artist must face, as well as to stand again in the face of failures and Critical.

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The work of Venancio Blanco is timeless. It likes different generations because it transcends, because it makes us think, it makes us feel, it makes us identify ourselves as part of a creative idea that knows how to project and share its creation with the rest of the world.

And for this we must thank him and for this he has become worthy of this recognition, because only men like him are impelling the creators and perfectly show a singular description of our identity and our qualities as men.

We recognize here the difficulties that Venancio has encountered throughout his life. But the sacrifices he has made, the joys he has experienced and the singular meaning that he has for the whole of his artistic and professional production and experience are today an example for many artists in Spain. Because the example of his life interests us all.

It has been said that perhaps the sense of art is to offer incessantly the option of perfecting itself to men. For this reason, this award recognizes a life, a personal path that bequeaths us in the works delivered, a visible reference in which we are offered, by reviving and contemplating them, also be artists. It offers us a possibility of action that transcends mere enjoyment and allows us, merging in the dynamics of its own strength, also improve.

The life of Venancio Blanco represents an essential moment of our sculptural culture; In each and every one of his works we recognize something of ours and find references to express ourselves and communicate.

The Medal of Honor that we present today is a way of confirming, reaffirming that, in the full effort to overcome adverse circumstances, we are happy to live and that in life there is a great beauty. You have shown us this. As you have also taught us that there is no progress without culture. And as we also know that Spain will not progress without examples like the one you represent.

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Your humanist trajectory, your work, your illusion, your example, are the attitudes that we recognize today with the award of this Medal that in the name of all the artists of Spain I have the honor to surrender.

After listening to the words of our General Secretary, who has essentially reflected who Venancio Blanco is, there would be a great deal more to say about his sculptures, because here we have hardly been able to approach his life and work very narrowly, but I would like you to leave Today after having been able to transmit some of the spirit that animates the extraordinary work of Venancio Blanco, which we are celebrating now as it deserves.

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However, before concluding, I wish to record an exceptional part of Venancio that directly concerns us and is the fact that we can be proud that Spain has an incomparable set of pieces of this humanist, this worker, this walker and indefatigable ascetic; The best representative today in the world of what, thanks to him, we continue to call sculpture today. Seldom have I felt more proud and happy to participate in a solemn act of recognition as the present.

Congratulations Venancio “.

He was then required to sign in the Book of Honor of the Spanish Association of Painters and Sculptors, and he did so, leaving also drawn a simple cross, vigorous and a tremendous force that made the delights of all who contemplated it.

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