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On April 12, 2019, the act of donating the “Portrait of Ignacio Molina Niño”, by the artist Álvaro Delgado Ramos and the kindness of his son, Ignacio Molina de la Peña, who decided to donate it to the AEPE, took place at the headquarters of the AEPE. The Spanish Association of Painters and Sculptors for its custody and as a way to guarantee its adequate conservation.
The generous gesture of those who understand that art should be something that must be preserved for future generations, has understood that our centenary institution treasures a prestige and respect for artists, whether or not partners, which has become worthy of the custody of a beautiful work of art by that famous Spanish painter.
This detail is what was highlighted by the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo López, who thanked Ignacio Molina for his selfless gesture and confidence in the institution on behalf of all its members and lovers of art in general.
He also revealed some details of the painter’s life and work, with special emphasis on the coincidence of the fact that the last portrait that was also donated to the AEPE was another disciple of Vázquez Díaz, as was Rafael Botí Gaitán and in this Álvaro Delgado Ramos, an artist who developed with particular intensity the genre of the portrait, interpreted in a unique expressionist way, conceiving this genre as a kind of serial essay approach to the intimacy of the portrayed until reaching its most defining features, which he underlined with expressive crudeness through some agile and bold strokes in line with the gestures and invoices of abstract expressionism.
In addition, the President commented how he personally experienced the repercussion that the portraits of Álvaro Delgado had in the city of Madrid, when he was commissioned to paint the Mayors Tierno Galván, Juan Barranco and Luis María Huete, since he was part of the municipal corporation at that time.
Astudillo also wanted to highlight the art of a Madrilenian who approached the group of painters of the Second School of Vallecas, embryo of the School of Madrid, where the importance of technique in painting and the sensuality with which the matter, treatment with which you could get various effects, including the intimate sense, endowing his works with a particular lyricism. De Solana took the trend towards monochrome.
Member of the Royal Board of the Prado Museum, appointed in 1970. He studied at the School of Painting in Madrid, forming part of the Second School of Vallecas. In 1949 he received a scholarship from the French Institute to travel to Paris, which allowed him to get in touch with the European avant-garde and to strengthen his admiration for the Cubist masters, Picasso and Braque. He is also interested in traditional Spanish painting and studies the work of Velázquez, Zurbarán and Goya. According to the artist himself, it is, however, El Greco the painter who has most influenced his work. In 1951 he participated in the Venice Biennial and, among other prizes, he won in 1953 the painting of the II Hispano-American Biennial, in 1955 the great painting prize of the Alexandria Biennial and in 1962 the gold medal of the National Engraving Salon . He is academic of number of the Real Academy of Beautiful Arts of San Fernando, from 1974; holder of the Academy of Art, Sciences and Literature of Europe, since 1988, and corresponding academic of the Royal Academy of Fine Arts of Our Lady of Sorrows, of Granada, since 1991. He is patron of the Friends of the Prado Foundation since 1995 to 2011. He has received, among other awards, the medal of the Madrid City Council for Artistic Merit, in 1991; the gold medal of the Villa de Madrid in 1995, and the national gold medal of Fine Arts, in 1996.
At the headquarters of the Spanish Association of Painters and Sculptors, next Friday, January 25, 2019, at 7:00 p.m. will take place the presentation of the paper on the Guernica and Picasso made the prestigious professor of geography and history of the Complutense University of Madrid, José María Juarranz de la Fuente.
The book “Guernica. The unknown masterpiece “is the fruit of fourteen years of research and almost 300 pages, testimony to the serious commitment of José María Juarranz in showing that Picasso’s Guernica is not a metaphor for the Nazi bombing of that Basque city, but a compilation of elements that through a language, relatively encrypted, symbolize details of his biography.
“The decision to title the canvas was opportunistic, a trompe l’oeil that hides the reality of the painting (…) All the paintings that Spain took to its pavilion at the 1937 Paris International Exhibition were propaganda works”. “And in a pavilion where everything was propaganda works … How could I put a painting about his life?”
For the teacher, the name of the work comes from the visit to the Parisian studio of Picasso that his friends made him, the poet Paul Éluard, and Zerbos, Basque nationalist poet, among others.
In the words of Larrea, upon seeing the work, one of them exclaimed “¡Guernica!” and Picasso found the “perfect plinth” to elevate the work of category and “multiply his ancestry and visibility throughout Europe”: “Picasso the bombing of Guernica did not affect him, he did not care what happened in Guernica, like no he cared what happened in Spain. ”
“There have been coherent studies,” he said, “but I have made the real jump.” The painting is a synthesis of the most important moments in its history, the 1864 Andalusian earthquake, the death of his friend Carlos Casagemas and his marital conflict in the 30s with his wife Olga Khokhlova “, has qualified.
Thus, the book maintains that the minotaur is a “self-portrait” of Picasso with which he wanted to put himself at the height of Velázquez and Goya in his paintings Las meninas and La familia de Carlos IV, respectively; and the horse would be his wife Olga Khokhlova, “he says.
In addition, for the author, the figure of the fainting mother holding her baby would not mean suffering for war, as understood until now, but would be her lover Marie Thérèse Walter and her daughter Maya; and the woman with the lamp, identified with the figure of the Republic, is the painter’s mother.
Among other conclusions, the dead warrior lying on the ground is his friend Carlos Casagemas. “This interpretation is the most successful of those that have been made so far,” concludes the author of this book, prefaced by Vicente Verdú.