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Eduardo Arroyo PDF Author: Eduardo Arroyo Pages: 68 pages ISBN: 9788417048884 On this occasion, La Fabrica's exquisite, big-format series of Artist Books presents a selection of works by the famous Spanish artist Eduardo Arroyo, a key author in Narrative Figuration, Neo-figurative art and pop art. In the early 1960s, his work was already decidedly subversive and offensive, often ridiculing Spanish stereotypes and cliches. His first great impact was his participation in the Third Paris Biennale with The Four Dictators, a work that triggered complaints by the Spanish government, as well as a show in Madrid that same year, which was censored and closed down, forcing Arroyo to flee to Paris, persecuted by the police. Eduardo Arroyo (Madrid, 1937) was born during Francisco Franco's dictatorship and was forced to take up exile in Paris and Italy before finally returning to Spain with the restoration of democracy. Today, he remains one of the most relevant painters in contemporary Spain, and his works are part of prestigious modern art museums, both in his native Spain and abroad, such as the Reina Sofia in Madrid and the Pompidou in Paris. This product may take a few minutes to download. File size: 7.48 Mb Download book free Eduardo Arroyo pdf epub kindle android ipad thUV3WXyVF Online Library - Read Free Books http://dowpenslane8.changeip.com/taikibafunc77/Very-Great-City-One-Day-Roger-Pegrum-9780648355267.pdf http://dowpenslane8.changeip.com/taikibafunc77/Chinese-Ceramics-Laurie-E-Barnes-9780300112788.pdf Powered by TCPDF (www.tcpdf.org).

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By Fernando Herrero-Matoses
ANTONIO SAURA'S MONSTRIFICATIONS: THE MONSTROUS BODY, MELANCHOLIA, AND THE MODERN SPANISH TRADITION BY FERNANDO HERRERO-MATOSES DISSERTATION Submitted as partial fulfillment of the requirements for the Degree of Doctor of Philosophy in Art History in the Graduate College of the University of Illinois at Urbana-Champaign, 2014 Urbana, Illinois Doctoral Committee: Professor Jonathan D. Fineberg, Chair Associate Professor Jordana Mendelson, New York University Assistant Professor Terri Weissman Associate Professor Brett A. Kaplan Associate Professor Elena L. Delgado Abstract This dissertation examines the monstrous body in the works of Antonio Saura Atares (1930-1998) as a means of exploring moments of cultural and political refashioning of the modern Spanish tradition during the second half of the twentieth century. In his work, Saura rendered figures in well-known Spanish paintings by El Greco, Velázquez, Goya and Picasso as monstrous bodies. Saura’s career-long gesture of deforming bodies in discontinuous thematic series across decades (what I called monstrifications) functioned as instances for artistic self-evaluation and cultural commentary. Rather than metaphorical self-portraits, Saura’s monstrous bodies allegorized the artistic and symbolic body of his artistic ancestry as a dismembered and melancholic corpus. In examining Saura’s monstrifications, this dissertation closely examines the reshaping of modern Spanish narrative under three different political periods: Franco’s dictatorship, political transition, and social democracy. By situating Saura’s works and texts within the context of Spanish recent political past, this dissertation aims to open conversations and cultural analyses about the individual interpretations made by artists through their politically informed appropriations of cultural traditions. As I argue, Saura’s monstrous bodies incarnated an allegorical and melancholic gaze upon the fragmentary and discontinuous corpus of Spanish artistic legacy as an always-retrieved yet never restored body.
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Sandra Pointet Eduardo ARROYO
© Fondation Gandur pour l’Art, Genève Photographe : Sandra Pointet Eduardo ARROYO (Madrid, Espagne, 1937) Cuatrodedos 1963 Huile sur toile Signé et daté « ARROYO 63 » en bas à gauche 162 × 130,2 cm FGA-BA-ARROY-0002 Provenance Atelier de l’artiste, Madrid Expositions Arroyo, Madrid, Galeria Biosca, 17 octobre – 20 novembre1 1963. Nieuwe Realisten, La Haye, Gemeente Museum, 24 juin – 30 août 1964. Pop etc., Vienne, Museum des 20. Jahrhunderts, 19 septembre – 31 octobre 1964. Neue Realisten & Pop Art, Berlin, Akademie der Künste, 20 novembre 1964 – 3 janvier 1965. Pop Art, Nouveau réalisme, etc., Bruxelles, Palais des Beaux-Arts, 5 février – 1er mars 1965. Eduardo Arroyo, 20 años de Pintura, 1962-1982, Madrid, Bibliothèque nationale, Salas Ruiz Picasso, mai-juin 1982. Eduardo Arroyo, Madrid, Museo Nacional Centro de Arte Reina Sofía, 10 février – 13 avril 1998. Luces de sangre, Almería, Centro de Arte Museo, 13 août – 12 septembre 1999 ; Málaga, Museo Municipal, 20 septembre – 31 octobre 1999. Figuration narrative, Paris 1960-1972, Paris, Galeries nationales du Grand Palais, 16 avril – 13 juillet 2008 ; Valence, Institut Valencià d’Art Modern, 19 septembre 2008 – 11 janvier 2009. Eduardo Arroyo, La Nuit espagnole, Saint-Rémy-de-Provence, Musée Estrine, 7 juin – 7 septembre 2014. Bibliographie Ameline, Jean-Paul, et Ajac, Bénédicte (dir.), Figuration narrative, Paris 1960-1972, catalogue d’exposition, Paris, Réunion des musées nationaux / Centre Pompidou, 2008, repr. coul. p. 182 no 4. Arroyo, catalogue d’exposition, Madrid, Galeria Biosca, 1963, repr. n/b n. p. Calvo Serraller Francisco, Eduardo Arroyo, Madrid, Ediarte, 1991, repr. coul. p. 62 no 33. Calvo Serraller Francisco, Diccionario de ideas recibidas del pintor Eduardo Arroyo, Madrid, Mondadori, 1991, cité p.
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EDUARDO ARROYO Nace En Madrid En 1937 / Nascut a Madrid L´Any 1937
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Eduardo Arroyo Como Nunca Se Había Visto Eduardo Arroyo Like You've
Eduardo Arroyo como nunca se había visto 38 Abr. 2013-6 h Eduardo Arroyo Like Nº www.grabadoyedicion.com you’ve never seen before FRITS LUGT marcas de coleccionista collectors’ marks TAMARIND INSTITUTE la sensibilidad de la piedra the sensitivity of the stone NEWS, AGENDA, OPINIÓN…. © Eduardo Arroyo referencias references Arthur Cravan tras su combate contra J. Johnson Arthur Cravan after his combat against J. Johnson 1994. Suite Senefelder & Co Xilografía y punta seca / Woodcut and drypoint 18 67 x 56,3 cm. Ed. 40, Arte Paris Alfredo Mateos Paramio Fotos: David Blázquez Vinculado en los años 60 a la Nouvelle Figuration Francesa, es uno de los pintores españoles de mayor proyección LA SUITE internacional. No ha cesado de evolucionar en un estilo personal caracterizado por el collage, la autoironía y la economía expresiva. Ha cultivado todas las técnicas de SENEFELDER la obra gráfica desde sus inicios, incluida la estampa di- gital, destacando particularmente en la reactualización de la litografía. Actualmente está sacando nuevos tomos de COMO NUNCA SE su Diccionario Imposible en estampa digital, habla en esta entrevista de su iniciación en la litografía y de la relación HABÍA VISTO de ésta con su pintura y sus otras actividades creativas. Linked in 1960 the French Nouvelle Figuration, is one of THE SUITE the greatest Spanish artists of international renown. Has continued to evolve into a personal style characterized SENEFELDER by collage, self-irony and expressive economy. He has cultivated all printmaking techniques since its inception, including digital printing. He is currently launching new LIKE YOU’VE volumes of his Impossible Dictionary in digital print, tells us about his beginnings in lithography and the relation between lithography and his paintings and other creative NEVER SEEN activities.
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EDUARDO ARROYO Dans Le Respect Des Traditions 1Er Juillet - 19 Novembre 2017
EDUARDO ARROYO Dans le respect des traditions 1er juillet - 19 novembre 2017 DOSSIER DE PRESSE La mujer del minero Pérez Martinez llamada Tina es rapada por la policia (détail), 1970. © Adagp Paris 2017. Photo DR. El retrato de Dorian Gray, 2014. Huile sur toile, 130 x 97 cm. © Adagp Paris 2017. Photo Adrián Vazquez. Contacts presse / Press contacts Façon de penser (Paris) Fondation Maeght (Saint-Paul de Vence) Presse nationale et internationale Presse locale et régionale Noalig Tanguy, Diane Reverdy et Gaëlle Cueff Charlène Sokoloff 01 75 43 72 64 04 93 32 45 93 [email protected] [email protected] _ 2 _ EDUARDO ARROYO Dans le respect des traditions 1er juillet - 19 novembre 2017 July 1 - November 19, 2017 Du 1er juillet au 19 novembre 2017, Eduardo Arroyo investira les From July 1 to November 19, 2017, Eduardo Arroyo takes his cimaises de la Fondation Maeght. Considéré comme l’un des place on the walls of the Fondation Maeght. Considered one of grands artistes espagnols de sa génération, Eduardo Arroyo the greatest Spanish artists of his generation, Eduardo Arroyo dépeint l’humanité à travers des jeux d’images dont l’origine est has painted humanity through a play of images which come from tant la société que l’Histoire, l’histoire de l’art ou de la littérature. Il society as well as history, the history of art and literature. He does le fait avec une vérité et un humour qui se jouent des scénographies so with a truth and humor that play with mythological or political mythologiques ou politiques.
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