The Reina Sofía Museum incorporates 2 works by Rafael Botí into its collection

The MNCARS, which already had in its collection two works by Cordovan painter Rafael Botí, (De la sierra de Córdoba, 1922 and Bodegón de los papel, 1928), incorporates in 2019 the pictorial works El Bidasoa in Fuenterrabía I, 1925 and Trees of the Botanist (Madrid), 1933.

In 1935, the Spanish State acquired Botí’s painting, De la sierra de Córdoba (also called the Cursed House), which obtained a mention in the National Exhibition of Fine Arts of 1924 and was awarded in 1929 in the Regional Exhibition of Modern Art from Granada.

Subsequently, the son of the painter, Rafael Botí Torres donated to the Reina Sofía Museum -in 2002- Still life of the papers, dated in 1928.

As Jaime Brihuega assures, due to the avatars of his extensive biography, the figure of Rafael Botí from Cordoba runs parallel to the entire Spanish art course of the 20th century.

From its beginnings in Córdoba under the teaching of Julio Romero de Torres until the outbreak of the civil war in 1936, Botí participates decisively in the process of renovating the Spanish plastic of the first third of the last century. From these years the two paintings that the painter’s son has recently donated to the collection of the Reina Sofía National Center of Art Museum date back.

During the 1920s, of which the painting El Bidasoa in Fuenterrabía I (1925) is a good example, his style, in the words of Paloma Esteban, curator of the Reina Sofía Museum, is configured in a personal way thanks to the use of a Increasingly defined chromaticism and an aesthetic based on the teachings of Cubism by Vázquez Díaz, which in this same composition are revealed both in the colorful and formal structuring as well as in the subject itself, so dear to the Huelva painter.

When in 1929 and in 1931 he traveled to Paris, retired by the Diputación de Córdoba, Botí came into contact with the latest avant-garde movements, as well as with many of the Spanish painters of the so-called School of Paris. Get to know firsthand the creations of the Fauvists and the Nabis, plastic experiences that, in the opinion of the conservative, materialize in later compositions such as the second of the works object of these lines, Botanical Trees (Madrid) (1933), which highlights the color and originality in the vision. Both works, of relevance in the trajectory of Rafael Botí, reinforce the production of the Cordovan artist in the collection of the Reina Sofía Museum.


Cordovan Rafael Botí diversified his studies from a young age, learning drawing with Julio Romero de Torres at the School of Arts and Crafts in Córdoba, modeling with Victorio Chicote, Art History with Ricardo Agrasot, and music at the Superior Conservatory with Cipriano Martínez Rücker . In 1917 he moved to Madrid, perfecting his learning both at the San Fernando School and the Higher Conservatory of Music and joining that same year of the Philharmonic Orchestra of Madrid, and in 1930 of the National Orchestra of Spain.

From 1918 he attended as a disciple the workshop of Daniel Vázquez Díaz, celebrating his first individual exhibition in 1923, in the Circle of Friendship. In 1931, from the Association of Plastic Artists Guild, of which he is co-founder, he contributes to the promotion of a vanguard manifesto in order to renew national artistic life. In 1980 the Ministry of Culture granted him the Silver Medal for Merit in Fine Arts, an award that would be followed in 1992 by the award of the Special Jury Prize at the National Plastic Arts Awards. In 1998, the Diputación de Córdoba constituted the Rafael Botí Provincial Foundation of Plastic Arts.

(Español) Mª Dolores Barreda e Itziar Zabalza. Congreso Internacional de Crítica de Arte. Museo Reina Sofía

Sorry, this entry is only available in European Spanish.

(Español) Mª Dolores Barreda e Itziar Zabalza en el Congreso Internacional de Crítica de Arte en el Museo Reina Sofía

Mª Dolores Barreda and Itziar Zabalza, communicators at the International Congress of Art Criticism at the Reina Sofía Museum

The General Secretary of the Spanish Association of Painters and Sculptors and AECA member, Mª Dolores Barreda Pérez and the Presidency Advisor, Itziar Zabalza Murillo, presented a communication last Friday, June 22, 2018 at the International Congress of Art Criticism, inaugurated the previous day in the Reina Sofía Museum and organized by AECA, the National Association of Art Critics.
In the Congress, which has focused on analyzing the Art Critic and the crisis and renewal that they need, they presented the communication entitled “Go back to gain momentum: regeneration and reinsertion of art criticism”, a review of the current situation that crosses the sector, with “the agony that suffers the job of art critic and that is leading to extinction. The alarming thing is not only its disappearance, but the absolute indifference that its death will suppose “. A communication that made a brief analysis of the causes of this crisis in which to witness the current reality, with a basis to reflect deeply on what is happening.
And all this with a clear compared example of art criticism whose function and result are the most disparate, despite having a distance of more than eighty years. And also a series of clear, clear and simple proposals, in which to try to find the necessary regeneration, based on the knowledge of the sources and authorities of the world of art criticism and the null presence of it in the world of art. current creation.
This is the essence that both authors, representing the Spanish Association of Painters and Sculptors, presented clearly, pleasantly and studied.
Mª Dolores Barreda Pérez, General Secretary of the Spanish Association of Painters and Sculptors and member of AECA introduced some lines in which she examined the current situation that the Art Criticism is going through, establishing in a series of basic points the reality of the sector. “Nothing new that does not know who is attracted by art and read about it; only proven facts of an overwhelming reality “.
On the other hand, Itziar Zabalza Murillo, Adviser of Presidency of the AEPE, made a review comparing two art critiques separated by 80 years and in which it is very clear why criticism has been increasingly moving away from the public and society , since “while the criticism that was published in number 441 of the Gaceta de Bellas Artes, corresponding to the month of January 1935 (Year XXVI), signed by the Galician writer Enrique Estévez Ortega and entitled” A great exhibition “, is fully current and current, that of the critic Fernando Castro, entitled “Murillo, what we lack of the artist”, published in the Cultural ABC of December 12, 2017, is how the critic clearly distances himself from the reader “.
Finally, Mª Dolores Barreda Pérez presented some conclusions resulting from the in-depth analysis of the situation with a clear proposal that directly involved the Spanish Association of Art Critics.
The communication will be published later in the book “Art Criticism: crisis and renewal”, in paper format, but in this same web page, tab “News and Publications”, sub-tab “Interviews and Reports”, the text can be found complete.


The Minister of Culture and the AEPE hold a working meeting

Yesterday Monday December 11, at 11 h. attended the office of the Minister of Culture, Education and Sports, Iñigo Méndez de Vigo, the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo López, the Vice President of the entity, Juan de la Cruz Pallarés García, the General Secretary of the AEPE, Mª Dolores Barreda Pérez and the Presidency Advisor, Itziar Zabalza Murillo.

Summoned expressly by the Minister, the representatives of the AEPE informed Mr. Méndez de Vigo of the different activities, contests, exhibitions and proposals carried out by the centenary entity, with special mention of the recently convened 53 Reina Sofia Painting Prize and Sculpture and the Autumn Salon, which in 2018 will reach its 85th edition.
In addition, the Historical Archive “Bernardino de Pantorba”, which he promised to present publicly in his ministry and which has the sponsorship of the Maxam Foundation, as well as the next exhibition tribute to Francisco López and Isabel Quintanilla that in the month of May, were the subject. It will take place in the historic city of Toledo.
The President of the AEPE, José Gabriel Astudillo, especially invited the Minister to “proudly welcome an entity that historically has represented so much for art in Spain and that has always been linked to the Ministry of Culture, sharing our founders and partners, responsibilities of different nature in ministries and institutions. ”
For his part, the Minister recalled having knowledge of our entity through the participation of the AEPE in the Google Cultural Institute through the exhibition “CervARTES”, and having also greeted the presentation that took place in the Reina Sofia Museum, to our President and Vice President. In addition, he accompanied José Gabriel Astudillo to the presentation of the tribute to the author of Quixote that under the title of “Cervantes without borders. Spanish, bridge between Europe and America “, took place in the European Parliament in March of this year.
The Minister was well aware of the Queen Sofía Prize organized by the Spanish Association of Painters and Sculptors, for which he congratulated the attendees of the meeting, especially for the turn in the last three years to have enlarged with an exclusive call and the hand of Google, and if the agenda allows, insisted on going to his delivery, offer that Astudillo quickly thanked on behalf of the entire AEPE.
And among many other issues that were discussed in the meeting, which lasted more than three quarters of an hour, the Minister also congratulated José Gabriel Astudillo for some of the portraits that he knows of his hand, confessing his great admiration for such an excellent facet of portraiture .