In: mural painting
February 8, 2017
“Picasso & Rivera: Conversations Across Time,” on display at the Los Angeles County Museum of Art, delves into the friendship between Pablo Picasso and Diego Rivera. It explores how the lives of these two 20th-century artists briefly intersected, and the ways they drew inspiration from the ancient visual culture of their respective countries.
The exhibition, which is arranged in a very linear manner, compares Picasso’s and Rivera’s artistic trajectories. This allows the visitor to see how both artists progressed through their early academic training, experimented with different stylistic modes, and shared an interest in antiquity. The works reveal that there was a dialogue between these two artists that spanned cultural and geographic boundaries.
The display presents a give-and-take between the two artists: Picasso’s Cubism heavily influencing Rivera’s work when they were both in Paris in 1914, and Rivera’s colorful, hefty figures subtly impacting Picasso’s classical style. The paintings included in the exhibition allow for a great deal of one-to-one comparisons between the two artists. But at times, the artworks are dwarfed by the scale of the galleries, giving the viewer a sense that they may have been better viewed in a smaller gallery space.
The largest and most striking room is at the center of the exhibition. Rivera and Picasso’s images are juxtaposed with ancient sculptures that reveal how their styles absorbed the influence of ancient forms. This was the first time I had ever seen ancient Mesoamerican sculpture displayed in tandem with ancient Classical sculpture. During the interwar years, Rivera reexamined the tradition of Aztec sculpture in his native Mexico which informed the mature style that he is most recognized for. The exhibition includes loans from the Anthropological Museum in Mexico City that are paired with Rivera’s gorgeous Flower Day (1925).
Picasso was in still in Paris between World War I & II, and his more traditional classicizing figures demonstrate his renewed interest in Greco-Roman antiquity and Iberian art. In the exhibition, classical sculpture -mostly loans from the Getty Museum- is juxtaposed with Picasso’s ‘return to order’ paintings such as Etudes (1920) and Three Women at the Spring (1921).
The final rooms explore how Picasso and Rivera’s artistic practices diverged after World War I. Mexico’s Ministry of Education commissioned Rivera to create murals that would unify the nation through revolutionary imagery. Through his study of Pre-Columbian sculpture (and his collection of over 6,000 ceramic and stone figurines) and Aztec creation myths, he imbued his images of a new, modern Mexico with aesthetics of the past. On the other hand, during the 1930s Picasso was revisiting Greek and Roman mythology -especially Ovid’s Metamorphoses and the myth of the Minotaur- and reworking classical tropes of depicting these narratives.
Beyond comparing the two artists’ work, the exhibition aims to stress how Picasso and Rivera were inspired by ancient sources throughout their careers, and how their friendship or artistic rivalry fueled those investigations.
“Picasso & Rivera: Conversations Across Time” is on view at LACMA through May 7th, 2017, and will travel to the Museo del Palacio de Bellas Artes in Mexico City in June 2017.
June 29, 2016
From magazine covers to digital advertising, illustration has endless applications that we consume on a daily basis. Thanks to such events as The London Illustration Fair, this form of art is only becoming more and more popular every year. In Spain, illustrated books are currently capturing the imagination of wider audiences, while the number of exhibitions dedicated to the work of illustrators has multiplied in the past few years. Below is just a small selection of the amazing talent spread throughout the country.
Simple but very powerful compositions and a subtle use of colour are the trademarks of Elena Odriozola’s work. Her beautiful illustrations for Mary Shelley’s Frankenstein (Nórdica Libros, 2013) are one of her most interesting projects so far. She has recently received the 2015 Spanish National Illustration Award for the “capacity for renewal” and the “narrative potential” of her work.
Maria Herreros’s drawings are full of life and animation. She uses mainly graphite and watercolour to recreate, in her own style, the image of film stars and pop culture icons. She has just published her book Marilyn tenía once dedos en los pies (Marilyn Had Eleven Toes on Her Feet, Lunwerg, 2016), a carefully illustrated collection of Hollywood anecdotes and curiosities that constitutes a unique and fascinating trip through the history of cinema.
Pablo Amargo conceives his illustrations as a poetic clash between image and word. He looks for the unexpected and establishes a certain distance between his visual world and the writings that he illustrates, so the readers can establish their own connections between text and image. I love how he manages to play with visual paradoxes and double meanings through a very clear and direct style. You may have seen his work in The New York Times, The New Yorker, or The Boston Globe, with whom he regularly collaborates.
Fernando Vicente’s stunningly sophisticated images, particularly his portraits, are some of the most recognisable in Spanish illustration today, although his work first appeared in different magazines during the 1980s. He has reimagined the works of Jane Austen, Lewis Carroll, Arthur Conan Doyle, Bram Stoker, and Emily Brontë, among many others, and has also recently illustrated a book about the Spanish Civil War (La Guerra Civil contada a los jóvenes, Alfaguara, 2015).
What I find most interesting about Paula Bonet’s creations is that she is often her own model. Her lively self-portraits are emotionally charged and often illustrate strong human emotions through the use of expressive colours, dark lines, and dramatic gestures. She explores her interest in film in one of her latest projects, 813 (La Galera, 2015), an illustrated homage to François Truffaut.
Oscar Llorens’s work seems to be inspired by street art and technology. His most personal projects usually feature strange, half-animal half-machine creatures that are often suspended in the air. One of these, entitled Migraine, explores the pain and sensations felt by those who suffer from this disorder. Coca Cola, Mercedes, Cirque du Soleil, and Red Bull are among the companies that have chosen Llorens’s intricate designs for their advertising campaigns.
Cinta Arribas likes telling stories through her art. Her work is fresh and optimistic, but not in any way naïve. I particularly like her ability to simplify shapes and the eloquence of her characters’ poses and gestures. If you are feeling adventurous, check out her awesome map with all the European St James’ routes to the city of Santiago de Compostela, featured in the book A Map of the World. The World According to Illustrators and Storytellers (Gestalten, 2013).
What first caught my attention about Carla Fuentes‘s work were her wonderful portraits, in particular those from her recent personal project Los Sentados. Through her very distinctive palette and the spontaneity of her lines Fuentes captures the character not only of people, but also of places. One example of this is her Motels series, inspired by the work of American photographer Stephen Shore.
Minimalist, enigmatic, and very evocative. Jesus Cisneros’s illustrations take us into a different world, one populated by small characters that seem in complete harmony with their mysterious surroundings. Cisneros’s unique style comes from his exquisite technique and great sensitivity. In his creations, colour becomes particularly relevant through its scarce but significant presence.
Ricardo Cavolo’s work is full of detail, symbolism, and eyes, eyes everywhere! He takes inspiration from old school tattoos, art history icons such as Frida Kahlo, and myths from different cultures to create bold and colourful illustrations and murals. If you want to dive into his very personal style, I recommend his book 101 Artists To Listen To Before You Die (Nobrow Press, 2015). A real treat for music lovers!