Jose Caballero's work reflects "the memory of a splendid season and tragedy of war", according to Maria Madrigal.
The PhD in Art History from the University Complutense of Madrid Marian Madrigal, presenting on Tuesday in Madrid the book "Memory is not nostalgia. Jose Caballero ', said that the painter's work Huelva collects "memory, both a splendid season that he had been lucky enough to live intensely, as the tragedy of war, which always shows life as annihilating and culture.
In an interview with Europa, gaia gold, Press, Madrigal, this work deserves Award Bios Antonio Domingo Ortiz of 2010, which grants Jose Manuel Lara Foundation with the collaboration of Ibercaja, has added about a knight who "did not like to stay anchored in nostalgia, but always moving forward, so never stop searching and experimenting. "
"Memory is not nostalgia. Jose Caballero ', presented on Tuesday in Madrid, take the, ffxiv gil, title of one of the last works of Jose Caballero, which sums up the feelings that led him to make the most of his work. Furthermore, Madrigal stressed that the title a nod to the movement of the recovery of historical memory that is taking place now, admitting that this "should not only focus on the political sphere but in all,, fallen earth buy chips, including artistic creation."
On the other hand, said that life and work of Knight are "closely related." The biography, as indicated, presents the work of painter born in Huelva in 1915 as a unit, giving coherence to the various stages of his artistic career, which until now only been seen and studied as watertight compartments. ", gaia items,
In this regard, he reiterated that to understand that continuity must be taken into account "the strong influence" exercised over the environment and the artists of the prewar years. At that time, Knight, who came to Madrid in 1931, was a cultural and personal experiences marked him deeply, noting that "the war was a wrenching divide in all aspects of her life, disrupting his painting, which resumes when includes all cultural baggage that continued to at all stages of their work and appear as a hallmark of his painting. "
Similarly, Madrigal has indicated that when the late 40's surrealism is disappointment, it took nearly ten years until, after a long evolution, came to the materials and abstraction in the late 50's. The informality and handling of materials found, commented, entirely personal language that was like "a return to roots, a return to the thread that was interrupted by war", starting in the opinion of the author , "the time most prolific and interesting."
Garcia Lorca and Bunuel brothers
In the capital of Spain was found with a great cultural movement, falling into one of the most lively art of the moment, Diaz Vazquez workshop, at the hands of those who learned to paint and met great designers and artists like Federico Garcia Lorca, Pablo Neruda, Maruja Mallo, Alberto Sanchez and Miguel Hernandez, among others.
"The world spontaneous and vital, full of creation, grace and wit in which he lived then, suddenly disappeared with the war," he said, noting that Knight was among the few artists of that time stayed in Spain and whenreturned to painting, whoever picked cultural environment, but with language adapted to that time.
In this sense, is "exciting" to see how returning exiles informalist understood perfectly his painting, which saw the world in which they lived and the war had ended everything. Pablo Neruda, as he'd had a similar experience and a poetic evolution similar to that painting had suffered from Huelva, sabra grasp the meaning of his abstract work, which was collected the essence of that culture and the tragedy of war just yet, in the poem 'A Knight Jose since 1970', which opens with the publication.
It has also affected when Knight arrived in Madrid in 1931, surrealism was in full swing, fully immersed through Garcia Lorca, Neruda and the brothers Bunuel, Luis and Alfonso, who taught him a book of collages of Max Ernst that the deepest impact. believes that in his drawings the artist Huelva "always looking to make a complaint of conventional and repressive environment of the bourgeoisie, thus opposed to any kind of rebellion."
Despite this influence, as has pointed out, the artist thought "Surrealism had come mainly from Andalucia, the Andalucian thought it had a character in itself and surreal, attitudes, some contradictions and a form of expression often surprising that fell within the more pure surrealism. " Caballero "always looking to make a complaint of conventional and repressive environment of the bourgeoisie that was opposed to any rebellion in his surreal drawings," he said.
In this sense, he adds that after the war followed with surrealism, but to "show his deepest feelings, suddenly realizing that this current" had lost its subversive power, being empty of content. " Then, Knight began a quest to find more plastic language with which to communicate directly and outright. Years later, particularly in the sixties, he began with "the informality and management matters", though, clarified that "always kept a surreal environment in all stages of his painting."
"Painter and writer"
Madrigal, who has done his doctoral thesis on the painter Huelva, thinks this is "a major artist of the twentieth century Spanish" and therefore is "very relevant" study "not only by the power that is apparent throughout his painting but also because it is a painter insolito in Spain, "he said. Knight was the only one who departed from the prewar avant-garde, picked up its essence and abstraction evolved to find, "he added, comparing their evolution to that of European Surrealism, that became the American abstract expressionism War II after World.
The book, published by the Fundacion Jose Manuel Lara and has a foreword by Caballero Bonald, includes numerous unpublished writings of Knight, also a painter who was "an excellent writer," leaving diaries, letters, and reflections on his life and work, including manuscripts highlighted in recounting his talks Lorca on the process of creation of 'Lament for Ignacio Sanchez Mejias', reflecting the close cooperation and ways of working that will repeat in the illustrations to do for other poets like Neruda or Bergamin.