Artist Lucien Freud Died at 88

(CNN) -- Artist Lucian Freud, known for his thick application of paints in painstakingly created, highly stylized portraits, has died at the age of 88, his publicist said Thursday. He died Wednesday night of an unspecified illness at his home in London.

"My family and I mourn Lucian Freud not only as one of the great painters of the twentieth century but also as a very dear friend," said his longtime dealer William R. Acquavella in a written statement. "As the foremost figurative Read more here

Dali Opera in Madrid

MADRID. An opera based on the life of Salvador Dalí and his wife Gala has finally been previewed in Madrid, seven years after its planned debut. “Yo, Dalí” (I, Dalí) opened at the Teatro de la Zarzuela in June. It will premiere at the Gran Teatre del Liceu in Barcelona in October.

The four-act opera retells significant moments in the artist’s life, with its main theme being his relationship with his wife, whom he met in Paris in 1929. The opera also encompasses ...
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Spanish Masters Opening Images

Miro: Femme et Chien Devant la Lune

Miro, Joan; Woman and Dog Before the Moon, 1936; Pochoir; #911392

From the portfolio published by Adlan, Barcelona. Miró executed this work for his friends in the group Adlan (Amigos de la arte Nuevo – Friends of the new art), a group devoted to modern Spanish art and architecture, and one the groups to organize the monographic show of Picasso in Spain. According to Dupin, Kandinsky and Hélion also contributed work for portfolios sponsored by the group.

This screen-printed pochoir, from an original gouache (pictured right) dating from the same year, is one of several works in this medium executed by Miro in the years leading up to the Spanish Civil War, each dealing more directly with the effects of the war. It prefigures Miro’s response to the massacre at Guernica, a large painting which hung with Picasso’s famous canvas in a show of solidarity with their home country.

Pochoir is a print medium akin to silkscreen, in which stencils formed in zinc sheets demarcate mostly flat color fields with strong edges. Many of his pochoirs were executed during his “savage” period, beginning in 1934 as the political situation in Spain began to deteriorate. Dupin, in his catalogue raisonne produced with the artist, notes the pochoir created for D’aci I d’alla (pictured left) stating “the violence of the pure tones harmonizes with the cruel distortion of the forms translating the feeling of terror gripping the bodies at the approach of the great disturbances which have been threatening.”

Miro left Spain in 1936, after the outbreak of civil war in July, and remained away until 1940. While he had been living primarily abroad for some time, he was unable to return to his homeland in Catalonia. Caught without a studio, and distressed at his exile, he was a steady supporter of the antifascist movement in general, though he never joined the Communist or other party.

Since 1934 his work was populated with increasingly distorted depictions of the extreme anxiety and distress of those oppressed by the oncoming civil war. But it was not until 1936 that his work began to exhibit a more direct approach to events. Femme et Chien Devant la Lune was one of the earlier manifestations of a contorted citizen wailing to the sky, of the type later to be seen in his own and Picasso’s work during the war. The bold, flat fields of color were emblematic of both his work of the period and the physical considerations of the medium. That they were intended to evoke an emotional response to the situation is emphasized by the next pochoir he created.

Aidez l’Espagne (pictured above) appeared in Cahiers d’Art 12, nos. 4-5, and art review which in the face of the impending crisis devoted multiple issues to Spain. This issue featured a poem on Guernica by Éluard and Picasso’s Songe et mensonge de Franco (Dream and Lie of Franco), and was to raise funds for the Republican forces. Miro’s contribution is a pochoir in the style of Femme et Chien Deavant la Lune, in a more hopeful vein, and was accompanied by Miro’s hopes against the disaster for his country. His handwritten caption for the print read: “In the present conflict I see the decrepit forces of the fascists, and on the other side the people, whose vast creative resources will five Spain a strength that will astonish the world.”

If Femme et Chien Devant la Lune is reflected stylistically in Miro’s other pochoir, perhaps the ultimate compositional corollary his canvas painted in what amounted an international display Spanish artists against fascist Spain. The Reaper, created in 1937 for the Spanish Republican Pavilion at the Paris World’s Fair, was lost after the exhibition. It is similar in tone to Picasso’s Guernica, which was created for the same solidarity exhibition. It depicts a Catalan peasant with flailing arms and contorted visage whose sickle represents at once his labor, growing communist tendencies and, as a modified scythe, a symbol of death. It is one of his most unequivocally political statements, and an important indicator of the impact the events in Spain had on the artist despite his absence.

Goya: Spain's Rembrandt

Francisco de Goya, born 1746 Fuendetodos, Aragón, Spain and is Spain’s most influential Master Painter and Printmaker of the 18^th century. Goya is to Spain as Rembrandt is to the Netherlands. From an early age Goya studied to be a painter. At the age of 14 Goya entered into apprenticeship with Jose Juzan, a local Spanish Master Painter, and then later went to apprentice with Anton Raphael Mengs, popular artist with the Spanish Royals, laying a strong foundation in the niche of Spain’s Royal families.

In 1763 and 1766 Goya was rejection by the Royal Academy of Art but did happen to enter and win 2^nd place at a completion in the City of Parma, Rome. Later Goya began to paint with Francisco Bayeu y Subias, this who Goya picked up the color palette and tonalities that he became famous for.

In 1783 Goya was hired by the Spanish Crown to create designs for tapestry’s and eventually created hundreds of works that not only changed art history but chronicled the political and social world. Goya’s artistic mastery was very scholarly and highly prized however this isn’t all he is known for. Goya took artistic liberties with his art by taking his personal views and outer imperfections of the royalty depicted and placed them within the art. Many of the people painted were subject to actual renditions of their likeness, sparing no mole melancholy smirk or crocked smile which was extremely radical of the time. But somehow he escaped the scrutiny of the court, perhaps because of his close relationship with Queen Sophia. The Queen was a huge admirer of Francisco de Goya’s work as was King Charles IV and eventually the Queen would save him from persecution later in his career.

Francisco de Goya grew ill in1792 with a combination of nervous and physical troubles, which have yet to be diagnosed even today. This illness left Goya almost def and took hold of his art. His subject matters and palate became an outward depiction of his inner turmoil; bitter, secretive, and dark.

Like his successor Picasso, Goya took major political stances with his art especially turning the later dark periods in his life. The Spanish Inquisition was well into fruition and drew Francisco de Goya further and further into a torturous dark place allowing for personal angst and desolation to fester inside. Goya combined his inner pain with the pain of the Spanish Inquisition, social anxiety, and widespread corruption of the Catholic Church giving way to the perfect rendition of dark and lucid trepidation of 80 etchings, Los Caprichos.

Feburary 6^th, 1799 Goya finished work on his most famous and treacherous series Los Caprichos, created during the Spanish Inquisition. The works sold for 320 Reales about 35 dollars for the set, about 35 cents a print. Only 27 copies were sold and Goya stopped the sale of the works.

This series is by far one of the most politically charged statements of its time. So much so that Goya withdrew the works from the public after selling only a handful party because of the inquisition and fear of the Crown implicating him in a plot against it and partly because of its failure to sell.

However, Goya did not slip by persecution as he hoped and was brought in for questioning. Fortunately due to Francisco de Goya’s relationship with the queen of Spain he was let go and gave the plates and prints to King Charles IV. Some history books claim this was Goya’s decision but one can speculate that Francisco de Goya ‘agreed’ or was ‘persuaded’ to hand over the 80 plates to Spain as a barter for his freedom. While other historians state that the Spanish government demanded the unsold works and copper plates be handed over and thus saved Goya from a life of imprisonment or even death. (The Spanish government held the collection of etchings for many years before allowing the world to see them. In fact it wasn’t until the 1950’s did Spain allow the works to be seen in public.)

Between 1815 and 1824 Goya created his final print series Los Proverbios a series of 18 etchings depicting satirical rendition of life in Spain and others nightmarish darkness or evil. The working proofs were called Los Disparates or “Follies” and thus known by the two titles. These works are also very much tied into his Black Paintings period created in the same time period. The Los Proverbios could be considered the print versions of the Black Paintings.

In1819 Goya had moved completely into himself working on a series of 14 paintings called the Black Paintings, again referencing witchcraft and war similar to that of the Los Caprichos series but much darker and less political. It is speculated that the 14 works were never intended to be on display by the artist, painted directly on the walls and never mentioned in writings. The Black Paintings are on permanent display at the Museo del Prado, housing the largest public collection on Goya’s art.

By 1845 Goya lost all faith and nationality with Spain and moved to Bordeaux (and only visited Spain twice after that) where he died in 1928 at the age of 82.