Line & Stylish Art Magazine nr11 July by LineandStylish Art Magazine

Nยบ11 EN / JUL 2014

FREE MONTHLY MAGAZINE

ARTIST OF THE MONTH

CRISTINA TROUFA

Technical File • • • • • •

Line & Stylish, Art Magazine Nr Registo ERC – 126385/ ERC Registration nr - 126385 Proprietário/Owner: José Eduardo de Almeida e Silva Editor/Publisher: José Eduardo de Almeida e Silva NIF: 179208586 Periodicidade/Periodicity: Mensal/Monthly Morada da Redacção/Editorial Address: Urbanização do Lidador Rua 17, nr 106 4470-709 – Maia Portugal Contacto/Contact : +351 914037084 Director Geral/Director in Chief: Eduardo Silva Director Adjunto/Vice-director: Isabel Gore Editor / Editor in Chief: Eduardo Silva Redacção/ Editorial Staff: José Eduardo Silva Isabel Pereira Coutinho Luís Peixoto Director Técnico/ Art and Web Director: Luís Peixoto Colaboradores para o nr 11 Carlota de Alonso Consuelo Hernández José María Bermejo José Marín Medina Richard Zimler Bertrand Delacroix Gallery Director Técnico/ Art and Web Director: Luís Peixoto Colaboradores para o nr 11 Fotografia/Photography: • AGO Art Gallery of Ontario © Tate Modern, London © Estate of Francis Bacon / SODRAC (2013) © Museo de Bellas Artes Bilbao © The Minneapolis Institute of Arts, © The Miscellaneous Works of Art Purchase Fund © Estate of Francis Bacon / SODRAC (2013) © Tate Britian, London © Robert & Lisa Sainsbury Collection, Sainsbury Centre for Visual Arts, University of East Anglia, U. © Estate of Francis Bacon / SODRAC (2013) © The Henry Moore Foundation. All Rights Reserved, DACS / SODRAC (2013) © Art Gallery of Ontario, Toronto.Courtesy Craig Boyko, AGO © Royal Pavillion and Museums, Brighton & Hove

Consuelo Hernández © Courtesy: Cosuelo Hernández Cristina Troufa © Cortesia: Cristina Troufa Estorick Collection of Modern Italian Art, London © Fondazione Accademia di Belle Arti ‘Pietro Vannucci’, Perugia © Comune di Perugia © Private collection, Foligno © Collezione Fondazione Cassa di Risparmio di Perugia Tate Modern Foundation Beyeler, Riehen/Basel. Photo: Robert Bayer, Basel.© Succession Henri Matisse/DACS 2013. © Centre Pompidou, MNAM-CCI, Dist. RMN- Grand Palais / Jean-Claude Planchet Artwork: © Succession Henri Matisse/DACS 2014 © National Gallery of Art, Washington. Artwork. The Museum of Modern Art, New York / Scala Florence The Metropolitan Museum of Art © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco. ©The Garry Winogrand Archive, Center for Creative Photography, The University of Arizona. © The Metropolitan Museum of Art, New York, Purchase, The Horace W. Goldsmith Foundation Gift, 1992 (1992.5107). The Metropolitan Museum of Art, New York, gift of William Berley, 1978 (1978.660.12). San Francisco Museum of Modern Art, Fractional and promised gift of Carla Emil and Rich Silverstein. © The Museum of Modern Art, New York. Purchase and gift of Barbara Schwartz in memory of Eugene M. Schwartz. National Gallery of Art and the San Francisco Museum of Modern Art, courtesy Center for Creative Photography, The University of Arizona. Collection of Randi and Bob Fisher. Collection of John and Lisa Pritzker. San Francisco Museum of Modern Art, Accessions Committee Fund: gift of Doris and Donald Fisher, and Marion E. Greene The Museo Thyssen - Bornemisza © Colección Pérez Simón, México

Once again the summer arrives and with it the inevitable silly season. It is obvious that in the international view, one still could find great artistic events. However, the predominance goes for the end of collections, collective exhibitions hastily made or to promote the painters for the next season. For the independent and smaller publications this seems the ideal time to do the annual review and also to prepare ourselves for the future. In this sense we will make a pause in our August issue, which will be added to the July one enabling us to have one month free to proceed with modifications for another successful year. We sincerely hope you understand our editorial policy because for a small magazine time management is a crucial thing. In the present issue we are please to introduce Cristina Troufa, a young painter from Oporto, Portugal, which carries on with the tradition of the narrative painting through self-portraits here very well commented by the writer Richard Zimler making a curious analogy between Cristina Troufa’s and Charles Darwin’s work. See you in September and have a nice and happy summer. José Eduardo Silva (Editor)

Capa: “Eu inferior” - 2011 Courtesy Cristina Troufa 3

INDEX 6.

72.

The Cut Outs

Artist of the

TATE MODERN

AND VICTORIAN PAINTING 18. ALMA-TADEMA IN THE PÉREZ SIMÓN COLLECTION

36.

CRISTINA T

Francis Bacon & Henry Moore: Terror and Beauty

92.

106.

GARRY WIN

Retrospective of Iconic S

CONSUELO HE

TROUFA

124.

GERARDO DOTORRI

e month

NOGRAND

Street Photographer

The Futurist View

144.

JULY HIGHLIGHTS

ERNANDEZ

info@lineandstylish.com +351 914 037 084 5

Henri Matisse:

The Cut-Outs 17 April – 7 September 2014 Tate Modern

Tate Modern’s major exhibition, Henri Matisse: The CutOuts, is the most comprehensive exhibition ever devoted to the artist’s paper cut-outs made between 1937 and 1954. It brings together around 130 works, many seen together for the first time, in a groundbreaking reassessment of Matisse’s colourful and innovative final works. The exhibition opens at Tate Modern on 17 April and will be in cinemas as Matisse Live from 3 June. Henri-Émile-Benoît Matisse (1869 – 1954) is one of the leading figures of modern art and one of the most significant colourists of all time. A draughtsman, printmaker, sculptor and painter, his unparalleled cut-outs are among the most significant of any artist’s late works. In a career spanning over half a century, Matisse made a large body of work of which the cut-outs are a brilliant final chapter in his long career.

Henri Matisse Icarus 1946

MMaquette for plate VIII of the illustrated book Jazz 1947 Digital image: © Centre Pompidou, MNAM-CCI, Dist. RMN-Grand Palais / Jean-Claude Planchet Artwork: © Succession Henri Matisse/DACS 2014 7

Some of Matisse’s first cut-outs were made between 1943 and 1947 and were collected together in Jazz 1947 (Pompidou, Paris), a book of 20 plates. Copies, published by Teriade and featuring a text hand-written by Matisse, will be shown alongside the original cut-outs. This will be the first time that the Jazz maquettes and the book have been shown together outside of France. Other major cut-outs in the exhibition include Tate’s The Snail 1953, its sister work Memory of Oceania 1953 (MoMA, New York) and Large Composition with Masks 1953 (National Gallery of Art, Washington). A photograph of Matisse’s studio reveals that these works were initially conceived as a unified whole. This is the first time these three large-scale works have been exhibited together for over fifty years. The show will include the largest number of Matisse’s Blue Nudes ever exhibited together, including the most significant of the group Blue Nude I 1952 (Beyeler Foundation, Basel). The works illustrate Matisse’s renewed interest in the figure.

Henri Matisse Blue Nude (I) 1952

Gouache painted paper cut-outs on paper on canvas, 106.30 x 78.00 cm Foundation Beyeler, Riehen/Basel Photo: Robert Bayer, Basel ÂŠ Succession Henri Matisse/DACS 2013 9

Henri M The Horse, the Rider, a

Maquette for plate V of the © Centre Pompidou, MNAM-CCI, Dist. R © Succession Henri 10

Matisse and the Clown 1943-4

e illustrated book Jazz 1947 RMN-Grand Palais / Jean-Claude Planchet Matisse/DACS 2013 11

Henri M Large Composition

National Gallery of Art, Washington Digital Image: © National G Artwork: © Succession H 12

Matisse n with Masks 1953

n. Ailsa Mellon Bruce Fund 1973.17.1 Gallery of Art, Washington Henri Matisse/DACS 2014 13

When ill health prevented Matisse from painting, he began to cut into painted paper with scissors to make maquettes for commissions, from books and stained glass window designs to tapestries and ceramics. In the cut-outs, outlines take on sculptural form and painted sheets of paper are infused with the luminosity of stained glass. Using colour, Matisse evokes the convulsive surface of water and the lushness of vegetation. The result reflected both a renewed commitment to form and colour and an inventiveness freshly directed to the status of the work of art.

Henri Matisse Memory of Oceania 1952-3

The exhibition re-examines the cut-outs in terms of the methods and materials that Matisse used, and their double lives, first as contingent and mutable in the studio and ultimately as permanent works through mounting and framing. The exhibition highlights the tensions in the works between finish and process; fine art and decoration; contemplation and utility; and drawing and colour. Henri Matisse: The Cut-Outs is curated by Nicholas Cullinan, Curator, Modern and Contemporary Art, The Metropolitan Museum of Art, New York and Nicholas Serota, Director, Tate with Flavia Frigeri, Assistant Curator, Tate; and at the Museum of Modern Art,New York by Jodi Hauptman, Curator, Department of Drawings, and Karl Buchberg, Senior Conservator, with Samantha Friedman, Assistant Curator. It will tour to the Museum of Modern Art from 14 October to9 February 2015.

Tate Modern Bankside London SE1 9TG United Kingdom 16

Henri Matisse The Snail 1953

Guache sobre papel cortado e colado sobre tela Tate ÂŠ Succession Henri Matisse/DACS 2013 17

ALMA-TADEMA AND VICTORIAN PAINTING

IN THE PÉREZ SIMÓN COLLECTION 25 June to 5 October 2014 The Museo Thyssen-Bornemisza

This exhibition will include paintings by some of the leading names in 19thcentury English painting. The works of Lawrence Alma-Tadema, Frederic Leighton, Edward Coley Burne-Jones, Albert. J. Moore and John William Waterhouse express the values that these painters had partly inherited from the Pre-Raphaelites, presenting a strong contrast with the predominantly moralising attitude of the day. Instead, they focused on classical antiquity, the cult of female beauty and a quest for visual harmony, all located in sumptuous settings and with a frequent use of medieval, Greek and Roman themes. Commissioned by Véronique Gerard-Powell, honorary professor at the Université Paris-Sorbonne, the exhibition comprises fifty works from the private Pérez Simón Collection, one of the most important holdings of Victorian painting in the world, and has been shown in Paris and Rome before reaching Madrid, after which it will travel to London. Over the past thirty years Juan Antonio Pérez Simón has revealed a particular interest in British painting created during the reign of Queen Victoria (1837-1901) and her son Edward VII (1901-1910), a period in art that despite its popularity at the time has been largely ignored by museums and collectors for almost a century. However, this period forms one of the principal focus points of Juan Antonio Pérez Simón’s wide tranging collection and includes works of the importance of Greek Girls picking up Pebbles on the Beach by Leighton, The Quartet, the Painter’s Tribute to the Art of Music by Moore, Andromeda by Poynter, The Crystal Ball by Waterhouse and The Roses of Heliogabalus by AlmaTadema. The latter is extensively represented in both the collection and in this exhibition, which includes thirteen works by the artist. 18

Arthur Hughes Una nube pasajera, c. 1905-1908 (A passing Cloud) Óleo sobre lienzo. 98,8 x 63,7 cm © Colección Pérez Simón, México 19

The exhibition spans a chronological period that begins in 1860 with the breakup of the Pre- Raphaelite Brotherhood and concludes fifty years later with the outbreak of World War I, which would radically modify British taste. The display of the works in the exhibition is organised into six thematic sections: The Eclecticism of an Era; Ideal Beauty, Classical Beauty; Alma-Tadema: Between Historical Reconstruction and Fantasy; The Face, Mirror of Beauty; From the Pre-Raphaelites to Symbolism; and Between Tradition and Modernity. By the 1860s the Pre-Raphaelite movement had declined while a wide ranging cultural and artistic trend known as the Aesthetic Movement emerged in Britain. Painters turned their gaze to the masters of the painters, gaining inspiration from Greco-Roman classical culture and the medieval Arthurian legends that had been rethought and updated in contemporary poetry. All these artists shared a celebration of female beauty, depicting it according to classical canons.

Edward Coley Burne-Jones Pigmalión. Los deseos del corazón, 1871.

(Pygmalion. The Heart Desires) Acuarela y lápiz de color sobre papel montado sobre lienzo, 57,8 x 44,5 cm © Colección Pérez Simón, México 21

John Melhuis Canción sin p

(Song witho Óleo sobre tela. © Colección Pére

sh Strudwick palabras, 1875

out Words) . 74,3 x 99,8 cm ez Sim贸n, M茅xico

John William Godward Belleza clásica, 1908

(Classical Beauty) Óleo sobre lienzo. 51 x 40,9 cm © Colección Pérez Simón, México 25

Women became the preeminent figures in these paintings. Depicted as contemplative, amorous, day-dreaming, bountiful, and lascivious or wicked, they are transformed into heroines of antiquity or the Middle Ages. This cult of the woman moved towards the dreamlike nature and magic of the Symbolist movement that was currently emerging in Europe. Natural settings or grandiose palaces became the backdrops for scenes that largely evoke imaginary settings and in which the female body is presented as evoking sensual pleasure, desire and mystery.

Crenaia, la ninfa de

(Crenaia, the Óleo sobre © Colección

Frederic Leighton el río Dargle, 1880

e Nymph of the Dargle) e lienzo. 76,8 x 27,2 cm n Pérez Simón, México 27

Dante Gabriel Rossetti Venus Verticordia, 1867-1868 Pastel sobre papel. 79,6 x 65,3 cm © Colección Pérez Simón, México

The Royal Academy, new galleries, dealers and collectors The selection of works in the exhibition will allow visitors to discover how 19th century British art followed a different model to that of the rest of Europe. At this period London was a leading cultural capital in which the increasing activity of collectors and dealers encouraged the growth of the art market. An authentic renaissance took place between 1860 and 1880 when artists began to reflect on their own practice. The Royal Academy in London enjoyed a high point during the period covered by this exhibition, directed by Frederic Leighton (1878-1896), then briefly by John Everett Millais and finally by Edward John Poynter (1896-1917). It held two exhibitions a year, a summer and a winter one. For the former, a committee chose from works presented by artists who had the opportunity to show their most recent creations and to promote themselves professionally. The winter exhibition consisted of works lent directly by their owners. In contrast to the hegemony of the Royal Academy and its selection process, which was based on extremely conservative criteria, there were various attempts to broaden the panorama of exhibitions led by the more individualistic artists such as Whistler and Burne-Jones. Unhappy with the Academyâ&#x20AC;&#x2122;s stance in relation to the new pictorial trends, these new exhibition spaces opening up in London provided them with venues to exhibit their works. This was the case with the Grosvenor Gallery and its successor the New Gallery, where artists including Burne Jones, Strudwick, Poynter and Leighton exhibited. 30

John William Waterhouse La bola de cristal, 1902

(The Crystal Ball) Óleo sobre lienzo. 121,6 x 79,7 cm © Colección Pérez Simón, México 31

William Clarke Wontner Valeria, c. 1916

Óleo sobre lienzo. 63,5 x 53,3 cm © Colección Pérez Simón, México 33

In addition, there were also painters who presented their works both to the Academy and to the new galleries, including AlmaTadema, Millais and Moore, made possible by the fact that Leighton facilitated the participation of followers of pure Aestheticism in the Academy’s exhibitions. The second half of the 19th century was also marked by the arrival of dealers in London who then opened branches of their galleries in Liverpool, Manchester, Birmingham and other provincial cities. These galleries acted as intermediaries between London vendors and clients in the north of England. While the art market was largely based in London, many of the works now in the Pérez Simón Collection were owned by entrepreneurs and businessmen in Britain’s new industrial and commercial centres, who bought or commissioned works directly from artists. In addition, the artists themselves gave or sold their works to each other or to their friends and patrons without the presence of intermediaries.

The Museo Thyssen-Bornemisza Paseo del Prado 8 28014 Madrid, Spain 34

Henry Arthur Payne El mar encantado, c. 1899

(The Enchanted Sea) Óleo sobre lienzo. 91,5 x 65,5 cm © Colección Pérez Simón, México 35

Francis Bacon & Henry Moore: Terror and Beauty April 5 to July 20, 2014. AGO Art Gallery of Ontario

Featuring more than 130 artworks, including paintings, sculptures, drawings, photographs and archival materials, the exhibition explores the two artists’ shared fascination with the human form in relation to the violence of the Second World War and other key events of the 20th century. Although they were neither friends nor collaborators, Bacon (b. 1909) and Moore (b. 1898) were contemporaries who shared an obsession with expressing themes of violence, trauma and conflict, both social and personal. Drawing on the artists’ personal experiences during the London Blitz and other conflicts, the exhibition examines how confinement and angst fostered their extraordinary creativity and unique visions. Bacon, whose dark depictions of human torment have inspired several characters in popular culture, including the appearance of Heath Ledger’s Joker in The Dark Knight, was a sadomasochist who sought to process the trials of humanity through his canvases. Moore, a British war artist, was one of the most renowned sculptors of his time. His works evoke endurance and stability, but when considered in light of his wartime experience, they read as an effort to rebuild and redeem the fragile human psyche and body.

Francis Bacon Study for Portrait II (After the life mask of William Blake), 1955 Oil on canvas, 61 x 51 cm Tate Modern, London ÂŠ Estate of Francis Bacon / SODRAC (2013) 37

ARTISTIC THEMES Francis Bacon and Henry Moore lived in Britain at a time of intense political and social turmoil that included two world wars. The artists – regarded as two of the greatest artists of the 20th century – had very different personalities and approaches to making art, yet both expressed their experiences of conflict and trauma through lifelong explorations of the human figure. While Bacon’s images tend towards the more autobiographical and Moore’s works consistently embrace universal themes, there are some striking similarities in their work. Both distort, contort, tear apart and reassemble the body to capture the disturbing realities of twentieth-century existence. In this exhibition, the artists’ works are paired to create a dialogue showing their shared awareness of human suffering and mortality that is also a testament to human strength and resilience.

Francis Bacon Portrait of Isabel Rawsthorne,1966 Oil on canvas,81 x 69 cm Tate Modern, London © Estate of Francis Bacon / SODRAC (2013)

Blitz: The Time and the Place The German Blitz on England from September 1940 to May 1941 killed thousands of civilians and demolished much of the city of London, where Francis Bacon and Henry Moore lived. Approximately 100,000 people fled to the Underground stations for refuge from nightly air raids. Moore’s studio was bombed, and for a while the portable art form of drawing became his primary medium. As an official war artist, he drew Londoners huddled together in the stations deep underground, referring to them as “hundreds of Henry Moore reclining figures stretched along the platform.” The photographer Bill Brandt also lived in London at that time. Specializing in night scenes, he took evocative moonlit photographs of London in eerie darkness during the blackouts, showing buildings in ruin and people crowding into improvised shelters.

Henry Moore Sleeping Positions, 1940-41

Henry M Falling Warr

Bronze, 65 x Tate Moder ÂŠ The Henry Moore Foundation. All Rig www.henry42

Moore rior, 1956-57

154 x 85 cm rn, London ghts Reserved, DACS / SODRAC (2013) -moore.org 43

Bodies: The Distorted and the Disturbed Bacon and Moore distorted the human form to express the violent realities and anxieties of the twentieth century. The trauma of war, a new interest in psychoanalysis, and shifts in religious and philosophical beliefs shaped the environment in which they lived and created the backdrop for their art. Their subjects – sometimes mythical, often monstrous – are contorted, weathered, battered or suffering. Bacon wanted to provoke viewers by attacking their nervous system, stirring up emotions and forcing them to confront reality. The voids, scars, sockets and gouges in Moore’s dismembered bodies seem to allude to enduring hardships and suffering.

Francis Bacon Three Figures and a Portrait, 1975 Oil and acrylic on canvas, 198.1 x 147.3 cm Tate Britian, London ÂŠ Estate of Francis Bacon / SODRAC (2013) 45

Crucifixions Although Bacon and Moore were not religious, they both used Christian themes in their art. Living in an increasingly secular, horrorand-violence-conscious age, Bacon described himself as a militant atheist and nihilist who saw little purpose in existence. Moore was a humanist who valued human dignity, and felt that people could lead meaningful and ethical lives without a belief in the supernatural. Both artists, however, made images of the Crucifixion as a universal symbol of suffering and evidence of people’s capacity to inflict harm on others. Bacon referred to the Crucifixion as “a magnificent armature on which you can hang all types of feeling and sensation.”

Francis Bacon Lying Figure in a Mirror, 1971

Oil on canvas, 198.5 x 147.5 cm Museo de Bellas Artes Bilbao © Estate of Francis Bacon / SODRAC (2013) 46

Francis Second Version of T

Óleo e alquídico sobre tela, 1 Tate Moder © Estate of Francis Bac 48

s Bacon Triptych 1944, 1988

198 x 147.5 cm (cada painel) rn, London con / SODRAC (2013) 49

Francis Bacon Unitled ( Kneeling Figure), 1982

Oil on canvas, 212 x 161 cm The Estate of Francis Bacon ÂŠ Estate of Francis Bacon / SODRAC (2013) 50

Francis Bacon Study for Portrait on Folding Bed, 1963 Oil on canvas, 198.1 x 147.3 cm Tate Britian, London ÂŠ Estate of Francis Bacon / SODRAC (2013) 51

Popes Bacon became obsessed with a portrait of Pope Innocent X made by Spanish painter Diego Velázquez in the 1600s, although he never saw the painting in person. Instead Bacon worked on a long series of pope paintings over 14 years, referencing his large collection of reproductions of the Velázquez painting in books, catalogues and postcards. Themes of screaming and confinement run through Bacon’s series. His popes are haunted, trapped and angry, and have little connection to religion other than to possibly subvert the power of the church. As Bacon once said: “It comes from an obsession with the photograph that I know of Velázquez’s Pope Innocent X…because I think it is one of the greatest portraits that has ever been made… I buy book after book with this illustration in it of the Velázquez Pope because it just haunts me, and it opens up all sorts of feelings and…imagination.

Francis Bacon Study for Portrait VI, 1953

Oil on canvas, 152 x 117 cm The Minneapolis Institute of Arts, The Miscellaneous Works of Art Purchase Fund © Estate of Francis Bacon / SODRAC (2013) 52

Henry M Helmet Head and

Bronze, 19 x 2 Tate Moder ÂŠ The Henry Moore Foundation. All Rig www.henry 54

Moore d Shoulders 1952

20.5 x 15 cm rn, London ghts Reserved, DACS / SODRAC (2013) y-moore.org 55

Hybrids Bacon and Moore created animal-human hybrids that were influenced by Surrealism, a 20th-century movement in art and literature that drew on the creative potential of the unconscious mind. The tiny head of the child in Moore’s Maquette for Mother and Child, for example, appears to be ferociously attacking its mother’s breast like a bird of prey. Moore has said that most of his mother and child sculptures have had the larger form in a protective relationship with the smaller form, but “it isn’t always so with very young children or animals… I wanted this to seem as though the child was trying to devour its parent – as though the mother had to hold the child at arm’s length.” In Bacon’s paintings, such as Man Kneeling in Grass, humans often display the urges and assume the appearance of animals.

Henry Moore Mother and Child, 1953

Henry M Reclining F

Plaster cast,L Art Gallery of O Courtesy Craig ÂŠ The Henry Moore Foundation. All Rig www.henry58

Moore Figure, 1951

L: 228.5 cm Ontario, Toronto g Boyko, AGO ghts Reserved, DACS / SODRAC (2013) -moore.org 59

Vulnerability and Resilience The sense of elation that followed the end of World War II soon gave way to angst after revelations of the full horror of the Holocaust and the new threat of the atomic bomb. Although Bacon’s paintings offer a more private and personal view of reality, his defenseless and exposed human figures still reflect the traumas of the time. During the post-war period, Moore created numerous warrior figures, infusing their forms with undertones of anxiety and vulnerability as well as aggression. Moore’s warriors are anti-heroes, heroes that strive and fail, yet he gives them dignity through their monumental size and stature.

Francis Bacon Two Figures in a Room,1959

Oil on canvas, 198 x 140.5 cm Robert & Lisa Sainsbury Collection, Sainsbury Centre for Visual Arts, University of East Anglia, U. © Estate of Francis Bacon / SODRAC (2013) 60

Henry M Three Fa

Watercolour, 2 Royal Pavillion and Mus ÂŠ The Henry Moore Foundation. All Rig www.henry 62

Moore ates, 1941

29.7 x 19.9 cm seums, Brighton & Hove ghts Reserved, DACS / SODRAC (2013) y-moore.org 63

Artist’s studios Francis Bacon moved into 7 Reece Mews, London, in 1961, and lived there until his death in 1992. His flat was modest and contained a small studio. The floor was barely visible, and the space was crammed full of cans, brushes, paint, books, photographs, magazines and slashed canvases within its paint-encrusted walls. Although he could afford a grander place, Bacon felt most creative in this studio: “I work much better in chaos. I couldn’t work if it was a beautifully tidy studio. It would be absolutely impossible for me...chaos for me breeds images.” After his death, the entire contents of the studio were moved to Dublin City Gallery The Hugh Lane in Ireland.

Henry Moore Maquette for Strapwork Head, 1950

Henry M Group of Shelterers du

Mixed media on wove Art Gallery of O ÂŠ The Henry Moore Foundation. All Rig 66

Moore uring an Air Raid ,1941

e paper, 38.3 x 55.5 cm Ontario, Toronto ghts Reserved, DACS / SODRAC (2013) 67

After Henry Moore’s London studio was bombed during the Blitz in 1940, he moved to a farmhouse in Perry Green, an hour north of London. It would remain his home and studio until his death in 1986. Moore’s studio space was essential to generating new ideas. He worked there on his maquettes, small models made in preparation for his large sculptures: “I use the little studio...when I’m trying to get my mind working on a new sculpture. “In the far end there’s a small room where I put all the odds and ends that I have collected, bits of pebbles, bits of bone, found objects and so on, all of which help to give one an atmosphere to start working.” The studio and its grounds are now the site of the Henry Moore Foundation.

AGO Art Gallery of Ontario 317 Dundas St W, Toronto ON M5T 1G4, Canada 68

Henry Moore Spanish Prisoner, 1939

ARTIST OF THE MONTH

Cristina Troufa Artist statement The self-representation, as a visible element in my work is the result of a self-reflection, focusing on personal development, spiritual and emotional states, justifying the idea that the work done by me, are self-portraits. Metaphorically they narrate, states of mind, moments of evolution and healing, alternative treatments carried out and spiritual issues related to death, that since child assail my mind, particularly reincarnation and spiritual growth that entails. My work turned into something spiritual, a route between several lives and several times in the same life, coexisting side by side from strategies of self-representation that ultimately question the meaning of life - Cristina Troufa

CRISTINA TROUFA Courtesy Cristina Troufa 73

Cristina Troufa and Charles Darwin Richard Zimler I first saw one of Cristina Troufa’s paintings a week ago, in a Facebook post. The emotional depth of the young woman depicted and, in particular, the complexity of her facial expression, prompted me to take a look at Cristina’s personal page. The disturbing and colorful work I saw there made me realize that I’d happened on a talented and original artist. Cristina’s paintings reminded me right away of an exhibition I’d seen in Porto a year earlier (at the Soares dos Reis Museum) about Charles Darwin’s seminal work on the link between emotion and genetics, The Expression of the Emotions in Man and Animals. Published in 1872, Darwin’s groundbreaking book – and the exhibition I saw – included startling photographs of adults and babies exhibiting an enormous range of emotions, everything from grief, despair, and anxiety to happiness and ecstasy. As I understand it, Darwin’s main objective in this work was to establish a link between genetically determined human behavior – including our facial expressions – and our states of mind.

Cristina Troufa “Eu inferior” - 2011

Mixed technique, acrylic and oil on canvas,150 x 100cm Courtesy Cristina Troufa 75

Cristina â&#x20AC;&#x153;Resist

Acrylic on canv Courtesy Cri 76

a Troufa tência”

vas, 86 x100 cm istina Troufa 77

On viewing Cristina’s paintings, it became clear to me that she was highly skilled at depicting the complex emotions and feelings that human beings exhibit and which Darwin wished to explore. This is a very difficult thing to do – indeed, painting the human face accurately and insightfully has confounded otherwise excellent artists for centuries. In a sense, we shouldn’t be surprised; it requires great technical skill and observational powers to depict a mixed emotion such as fearful doubt, for example. Or controlled panic. Or to paint an emotion as subtle as reticence. Astonishingly, Cristina is consistently able to portray such feelings in her subjects. For instance, in my favorite painting in this exhibit, the self-portrait entitled Shadows in the Attic (Sombras no Sotão), a young woman is gazing at something in the distance that may very well be odd or disturbing. She also seems to be doing her best not to exhibit the frisson of fear that has struck her. The suspicious interest and need for distance she feels is evident in her tightly controlled eyes and mouth, and, at a secondary level, in the taut, purposeful positioning of her head and arms. Her effort to control her emotions is also implied by her attention to her shoelaces even though her thoughts clearly lie elsewhere. Since our ability to understand and interpret facial expressions and body language varies from person to person, the paintings in this exhibit are sure to prompt a fairly wide range of emotions and ideas. And questions. Is the girl sitting at the corner of Evolution (Evolução) ashamed or fearful? Or both? Is the young woman at the left of States (Etapas) jealous of her laughing self at the right, or is she irritated? Why? In the end, each viewer must make his or her own interpretation, of course. Richard Zimler, October 20, 2011 78

Cristina Troufa “Awakening”- 2012

Acrylic on canvas, 54 x154 cm Courtesy Cristina Troufa 79

Cristina “Carga”

Acrylic on canv Courtesy Cri 80

a Troufa â&#x20AC;&#x201C; 2011

vas, 86 x100 cm istina Troufa 81

CRISTINA TROUFA (1974) Porto, Portugal Formação Académica 1998 - Licenciada no curso de Artes Plásticas - Pintura, pela Faculdade de Belas Artes da Universidade do Porto. 2012 - Mestrado de Pintura, na Faculdade de Belas Artes da Universidade do Porto. Em 2011 obteve uma bolsa da FADEUP em cooperação com a Fundação Calouste Gulbenkian. Referenciada e entrevistada em vários meios de comunicação social, tais como: 2014 - Imagem de capa (A Paixão tem um Fado #2) em “Heavy Feather Review 3.2” Baby Eat Books, Teal Jason e Nathan Floom (ed.), North Canton, Ohio, EUA, “Empty Kingdom Top 100 Artists of 2013” Empty Kingdom site: http://www.emptykingdom.com/featured/emptykingdom-top-100-artists-of-2013/, São Francisco, EUA. 2012 - Lesley Frenz “Undone Beauty” Arbus, The Arts &amp; Business Magazine of Northeast Florida Oct/November 2012”, EUA. Tim Hannaford “Four corners of the globe”, Paradise Magazine, September 22-23,Gold Coast Bulletin”, Austrália. 2009 - Liliana Garcia, “As faces da pintura” (Na Oficina de) revista Tabu incluída no jornal O SOL, nº 150, 24 Julho 2009, Portugal. 2004 - Rodrigues Vaz, “Cristina Troufa, Pintura Essencial” revista Eles e Elas nº 226, Agosto/Setembro 2004, Portugal Citada em, 2014 - Livro - “The New Collectors Book” edição de 2014,Basak, editor Tchera Niyego, Nova York 2014 2012 - Livro – “Arte Europa”, Fernando Infante do Carmo, editora Fonte da Palavra 2007 - Catálogo – “Arte Lisboa, Feira de Arte Contemporânea” 2006 - Livro – “Livro de Ouro da Arte Contemporânea em Portugal”, Fernando Infante do Carmo. 2004 - Livro – “A Arte no Desporto” editado pela Galeria Linhares, 82

Lisboa. Em 2011 fez ilustração da capa para o livro “Strawberry Fields Forever” do escritor Richard Zimler para ser editado em Inglaterra. Em 2008 fez Ilustrações para o livro “Palavras de Fernando Pessoa”, Centro Atlântico. Coleções 2014 - Liberty Seguros/2012 - FBAUP – Faculdade de Belas Artes da Universidade do Porto/2011 - FADEUP – Faculdade de Desporto da Universidade do Porto/2007 - MAEDS – Museu De Arqueologia e Etnografia do Distrito de Setúbal Menções Honrosas 2010 - VIII Certamen Internacional de Artes Plásticas “Aires de Córdoba”, Espanha / 2009 - “6ª Bienal internacional de Arte Jovem de Vila Verde”, Vila Verde/ 2007 - Bienal de Coruche, 3º Salão de Artes Plásticas, Coruche / 2004 - Apresentações Artísticas, Pavilhão de Exposições, Penafiel Exposições Individuais 2013 - “INTERIOR” CAE-Centro de Artes e Espetáculos da Figueira da Foz ,“RE-COR-DAR” Galeria Palpura, Lisboa ,“Mais vale um pássaro a voar” 57 Art Galery, Viana do Castelo. 2012 - “Subjective Freedom”, 19 Karen Contemporary Artspace, Gold Coast, Austrália, “Emoções”, Museu de Artes Decorativas, Viana do Castelo. 2011 - “O Eu Narcísico”, Galeria Palpura, Lisboa, “A máscara reflectida no Espelho”, Galeria ASVS, Porto, “Cristina Troufa” Galeria Metamorfose, Porto, “Vestir a Pele”, Biblioteca de Penafiel. 2008 - Convento do Desagravo - Vila Pouca da Beira 2006 - “ Traços de Portugal”, Casa Museu Soledade Malvar, Famalicão. 2005 - “Nós os Animais”, Galeria Abraço, Lisboa 2004 - “Pintura Essencial”, Galeria Artela, Lisboa, “ Apresentações Artísticas”, Pavilhão de Exposições, Penafiel. 2003 - “V4”, Casa das Artes, Porto,“Traços da Vida”, Galeria OM, Penafiel . 2002 - “Figurações”, Galeria Artela, Lisboa. 2001 - “7 Vezes Pecado”, Espaço Artes de Lousada. 83

Cristina â&#x20AC;&#x153;Castelo

Acrylic on canv Courtesy Cri 84

a Troufa os no Arâ&#x20AC;?

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Cristina “Máscara

Acrylic on canv Courtesy Cri 86

a Troufa asâ&#x20AC;?-2011

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Exposições Colectivas 2014 - “XVI Contemporâneos” Museu Municipal de Espinho, Espinho.“Vinho e Fado” Museu do Vinho da Bairrada, Anadia. (Com)Tributos da Liberdade a Joan Miró, Porto,b“È a crise” Galeria Metamorfose, Porto,“Mulheres Escravas e Deusas” Biblioteca Municipal de Felgueiras.“À Flor da Pele” Artspace João Carvalho, Alcanena. “Arte & Negócios”, Porto Business School, org. We Art, Porto. 2013 - “Assobiador” Castelo de Santa Cruz, Oleiros, Espanha. “50 Artistas de Dentro e Fora” Casa da Cultura Mestre José Rodrigues, Galeria Manuel Cunha, Alfândega da Fé,Coletiva de Natal, Galeria REM Por Amor á Arte, Porto,“Arte de Bolso” Galeria Sete, Coimbra,“Labirintos da Arte” III Cumbre de Arte Latinoamericana, Museu Karura Art Centre, Formato virtual Seconde Life,“Rupturas” Galeria Artes Solar Stº António, Porto,“Assobiador” Galeria Metamorfose, Porto,“17ª Bienal de Cerveira” Vila Nova de Cerveira, “Do Real e de Outras Verdades” Silo Espaço Cultural, Matosinhos,“Femme et Babouches” Espace Galerie, Paris, França,“Mulheres e Babuchas” Galeria Porto Oriental, Porto,“Contrapontos” REM Espaço Arte, Porto,“Mulheres e Babuchas” Galeria Vértice, Estoril 2012 - Barcelona Showcase-International Exhibition of Contemporary Art, Casa Batlló, Barcelona, Espanha, “Arte no Morrazo”, Cangas, Espanha, “Fado ao Norte”, Casa da Galeria, Santo Tirso, “1ª Feira de Antiguidades e Obras de Arte”, CCB, Lisboa, “Consagrados e Emergentes”, Galeria Zeller, Espinho,Exposição coletiva, Galeria CB Concept Art, Carcavelos,”Acervo” Galeria Artes Solar Stº António, Porto, “Coletiva Acervo”, Galeria Metamorfose, Porto, “Coletica 2000...e 12”, Galeria Zeller, Espinho 88

2011 - “Cromossoma X-Paletas de um Mestrado”, Fórum Cultural de Ermesinde, Ermesinde, 19 Karen Contemporary Artspace, Gold Coast, Austrália,”FastArt Follia e Societá”, Ex Chiesa del Àngelo, Lodi, Itália,”A Ceia”, Galeria Artes Solar Stº António, Porto,”Contra o Espelho”, Galeria Solar Stº António, Porto,Exposição coletivade “Acervo”, Galeria Zeller, Espinho, “Percursos da Bienal de Coruche”, antiga escola EBI, nº1 Coruche,”Seen From Outside”. Mecânicas do corpo e do Desporto, FADEUP, Porto,XXIV Salão de Primavera da Galeria de Arte do Casino Estoril,Galeria Artes Solar Sto. António, Porto,”Ela por Elas” Galeria Metamorfose, Porto,”Recolecção - Diálogos de Pintura”, Galeria dos Leões, Porto, “Energias Paralelas”, Galeria Leal´s, Cascais. 2010 - “Lisbo-a-njos”, Galeria Paula Cabral, Lisboa,Exposição colectiva, Galeria Zeller, Espinho,“Colectiva de Natal”, Galeria João Pedro Rodrigues, Porto,”AMIarte: Juntos na solidariedade”, Fórum de Ermesinde. Certamen Internacional de Artes Plásticas VIII “Aires de Còrdoba” Espanha,“MertolArte 2010”, Mértola “AMI-Juntos na solidariedade”, Amiarte, Porto 2009- “6º Bienal Internacional de Arte Jovem de Vila Verde”.” Dez Olhares”, Galeria Valbom, Lisboa.” A Arte não se mede aos Palmos”, Galeria Nuno Sacramento, Aveiro,Exposição Colectiva, Centro Unesco do Porto.” Imagens que as palavras ditam”, Museu de Etnografia do Distrito de Setúbal . 2008 - “Arte Lisboa”, Feira de Arte Contemporânea, Lisboa.Exposição Colectiva de Artes Plásticas, Vimioso.Exposição Colectiva – Galeria Arthobler.com, Porto.“Arte na Rota de Camilo ” – Centro de Estudos Camilianos, Famalicão. Exposição Colectiva de Pintura e Escultura – Galeria Hibiscus, Lisboa “Tradições (re)inventadas “ – Sintra.“X Edição 89

do Prémio de Pintura e Escultura D. Fernando II”, Sintra 2007 - “Arte Lisboa”, Feira de Arte Contemporânea, Lisboa.“Bienal de Coruche”, 3º Salão de Artes Plásticas, Coruche. 2006 - “Arte Lisboa”, Feira de Arte contemporânea, Lisboa.“Colectiva onze”, Galeria Valbom, Lisboa 2005 - “ 4ª Bienal Internacional de Arte Jovem de Vila Verde”, Vila Verde,“ 8ª Edição Prémios de Pintura e Escultura D. Fernando II”, Sintra. 2004 - Exposição Colectiva, Galeria Linhares, Lisboa. “Arte no Desporto”, Galeria Linhares, Lisboa.“7ª Edição Prémios de Pintura e Escultura D. Fernando II”, Sintra.”Um outro Porto, um outro olhar”, Espaço Artes, Porto 2003 - “Bienal de Coruche, 1º Salão de Artes Plásticas”, Coruche,“Leilão de Jovens Pintores”, Palácio do Correio Velho, Lisboa 2002 - “6ª Edição Prémios de Pintura e Escultura D. Fernando II”, Sintra.“5º Concurso Nacional de Jovens nas Artes Francisco Wandchneider”, ANJE, Porto 2001- “Lugar aos Jovens” Galeria Valbom, Lisboa.“Arte Jovem Famalicense”, Famalicão.“6º Prémio Fidelidade Jovens Pintores”, Funchal, Madeira.“6º Prémio Fidelidade Jovens Pintores”, Fundação da Juventude, Porto 2000 - “6º Prémio Fidelidade Jovens Pintores”, Culturgest, Lisboa.“1ª Bienal de Pintura Arte Jovem de Penafiel”, Penafiel . 90

1998 - Ordem dos Médicos, Porto, Bar Praça Publica, S. João da Madeira, XI Salão de Primavera, Galeria de Arte do Casino Estoril, Estoril.Exposição “Estudantes da FBAUP”, Entroncamento 1997 - Centro Cultural de Rio Tinto, Rio Tinto,Galeria Cândido, Porto 1996 - Junta de Freguesia de Campanhã, Porto 1995 - Centro Cultural de Ermesinde, Rotary Club.Junta de Freguesia do Bonfim, Rotary Club

E-mail: cristinatroufa@sapo.pt Site: http://cristina-troufa.blogspot.com 91

Retrospective of Iconic Street Photographer

Garry Winogrand The first retrospective in 25 years of work by Garry Winogrand (1928– 1984)—the renowned photographer of New York City and of American life from the 1950s through the early 1980s. Garry Winogrand brings together more than 175 of the artist’s iconic images, a trove of unseen prints, and even Winogrand’s famed series of photographs made at the Metropolitan Museum in 1969 when the Museum celebrated its centennial. This exhibition offers a rigorous overview of Winogrand’s complete working life and reveals for the first time the full sweep of his career.

Garry Winogrand (American, 1928â&#x20AC;&#x201C;1984) Centennial Ball, Metropolitan Museum of Art, New York - 1969

Gelatin silver print The Metropolitan Museum of Art, New York, gift of William Berley, 1978 (1978.660.12) ÂŠ The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 93

Garry Winogrand Born in the Bronx, Winogrand did much of his best-known work in Manhattan during the 1950s and 1960s, and in both the content and dynamic style he became one of the principal voices of the eruptive postwar decades. Known primarily as a street photographer, Winogrand, who is often associated with famed contemporaries Diane Arbus and Lee Friedlander, photographed with dazzling energy and incessant appetite, exposing some 26,000 rolls of film in his short lifetime. He photographed business moguls, everyday women on the street, famous actors and athletes, hippies, politicians, soldiers, animals in zoos, rodeos, car culture, airports, and antiwar demonstrators and the construction workers who beat them bloody in view of the unmoved police. Daily life in America—rich with new possibilities and yet equally anxiety-ridden and threatening to spin out of control—seemed to unfold for him in a continuous stream. Yet if Winogrand was one of New York City’s, he was also an avid traveller. He generated exquisite work from locations around the United States including Los Angeles, San Francisco, Dallas, Houston, Chicago, and the open country of the Southwest. “You could say that I am a student of photography,” he said, “and I am; but really I’m a student of America.” Winogrand’s expansive visual catalogue of the nation’s evolving social scene has led to comparisons to Walt Whitman, who also unspooled the world in endless lists of people, places, and things.

Garry Winogrand (American, 1928–1984) Coney Island, New York - c. 1952

Gelatin silver print The Museum of Modern Art, New York. Purchase and gift of Barbara Schwartz in memory of Eugene M. Schwartz © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 95

Garry Winogrand (American, 1928â&#x20AC;&#x201C;1984) John F. Kennedy, Democratic National Convention, Los Angeles1960

Gelatin silver print Posthumous print made from original negative on the occasion of the Garry Winogrand exhibition organized by the National Gallery of Art and the San Francisco Museum of Modern Art, courtesy Center for Creative Photography, The University of Arizona ÂŠ The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 96

Garry Winogrand (American, 1928–1984) Central Park Zoo, New York 1967

Gelatin silver print Collection of Randi and Bob Fisher © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 97

Winogrand’s pictures often bulge with 20 or 30 figures, and are fascinating both for their dramatic foregrounds and the sub-events at their edges. Even when crowded with people or at their most light hearted—he was fond of visual puns and was drawn to the absurd—his pictures convey a feeling of human isolation, hinting at something darker beneath the veneer of the American dream. Early on, some critics considered his pictures formally “shapeless” and “random,” but admirers and critics later found a unique poetry in his tilted horizons and his love of the haphazard. “Winogrand was an artistic descendant of Walker Evans and Robert Frank, but differed sharply from them,” says Leo Rubinfien, guest curator of the exhibition. “He admired Frank’s The Americans, but felt the work missed the main story of its time, which in his mind was the emergence of suburban prosperity and isolation. The hope and buoyancy of middle-class life in postwar America is half of the emotional heart of Winogrand’s work. The other half is a sense of undoing. The tension between these qualities gives his work its distinct character.” After serving in the military as a weather forecaster, Winogrand began working as a photographer while studying painting on the G.I. Bill at Columbia University (1948–1951).

Garry Winogrand (American, 1928â&#x20AC;&#x201C;1984) El Morocco, New York -1955

Gelatin silver print The Metropolitan Museum of Art, New York, Purchase, The Horace W. Goldsmith Foundation Gift, 1992 (1992.5107) ÂŠ The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 99

Garry Winogrand (American, 1928–1984) New York 1967

Gelatin silver print San Francisco Museum of Modern Art, Gift of Dr. L.F. Peede, Jr. © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 100

Garry Winogrand (American, 1928–1984) John F. Kennedy International Airport, New York, 1968

Gelatin silver print Collection of John and Lisa Pritzker © The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 101

Garry Winogrand (American, 1928â&#x20AC;&#x201C;1984) New York -1950

Gelatin silver print San Francisco Museum of Modern Art, Fractional and promised gift of Carla Emil and Rich Silverstein ÂŠ The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 102

Garry Winogrand (American, 1928â&#x20AC;&#x201C;1984) Fort Worth - 1974

Gelatin silver print San Francisco Museum of Modern Art, Accessions Committee Fund: gift of Doris and Donald Fisher, and Marion E. Greene ÂŠ The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 103

While Winogrand is widely considered one of the greatest photographers of the 20th century, his overall body of work and influence on the field remain incompletely explored. He was enormously prolific but largely postponed the editing and printing of his work. The act of taking pictures was far more fulfilling to Winogrand than making prints or editing for books and exhibitions, and he often allowed others to perform these tasks for him. Dying suddenly at the age of 56, he left behind approximately 6,500 rolls of film (some 250,000 images) that he had never seen, as well as proof sheets from his earlier years that he had marked but never printed. “There exists in photography no other body of work of comparable size or quality that is so editorially unresolved,” says Rubinfien, who was among the youngest of Winogrand’scircle of friends in the 1970s. “This exhibition represents the first effort to comprehensively examine Winogrand’s unfinished work. It also aims to turn the presentation of his work away from topical editing and toward a freer organization that is faithful to his art’s essential spirit, thus enabling a new understanding of his oeuvre, even for those who think they know him.” The exhibition is divided into three parts, each covering a broad variety of subjects found in Winogrand’s art. “Down from the Bronx” presents photographs made in New York from his start in 1950 until 1971; “A Student of America” looks at the same period during journeys outside New York; and “Boom and Bust” addresses Winogrand’s late work—from when he moved away from New York in 1971 until his death in 1984— with photographs from Texas and Southern California, as well as Chicago, Washington, Miami, and other locations. The exhibition has been conceived and guest-curated by photographer and author Leo Rubinfien with Erin O’Toole, associate curator of photography at SFMOMA, and Sarah Greenough, senior curator of photographs at the National Gallery of Art. The Metropolitan Museum of Art’s presentation of the exhibition is organized by Jeff L. Rosenheim, Curator in Charge of the Museum’s Department of Photographs. The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028-0198 104

Garry Winogrand (American, 1928â&#x20AC;&#x201C;1984) Los Angeles, 1980-1983

Gelatin silver print The Garry Winogrand Archive, Center for Creative Photography, The University of Arizona ÂŠ The Estate of Garry Winogrand, courtesy Fraenkel Gallery, San Francisco 105

Consuelo Hernández Consuelo Hernández was born in Tornavacas,Cáceres, Spain. Several art critics as José María Bermejo and Medina Marín framed his work inside the figurative realism, namely the “new realism” Since her childhood and youth she combines studies at the university, taking a bachelors degree in Romanic Philology, with drawing and painting, so that her training covers the field of Arts and Humanities.

CONSUELO HERNÁNDEZ In studio Courtesy: Consuelo Hernández 106

CONSUELO HERNÁNDEZ “Estación de Príncipe Pío” - 2010 Oil on wood, 120 x 80 cm Courtesy: Consuelo Hernández 107

Referring to her early career as a painter, and referring to her first solo exhibition in 1980, the art critic José María Bermejo said: “That precocious girl who, motivated by his father, drew rural areas in a trembling and wonderful way, gave rise to a sensitive teenager who looked and portrayed the charm of the old golden streets of Cáceres, or copied with passion and tenacity the great Spanish Masters : Goya, Velazquez, El Greco ... “ In 1995 ,the prestigious art critic José Marín Medina wrote in the daily ABC about her exhibition at Galeria Santa Bárbara, Madrid: “ Belonging to the new young realistic generation, Hernandez reaches her first maturity in the development of an independent and challenging landscape that, despite the apparent strength of its realism, what she is really looking for are the gifts of creativity ... The imaginative world that Consuelo Hernández proposes “from above”, is a vast path of imaginary landscapes, “Las Corrientes del aire” (Air Currents) “Los Senderos del mar” (The Paths of The Sea), the visionary landscapes, images that reminds us Patinir by its amplitude and concept, drawing ghostly rocks crossed by deep currents of quiet waters ... all bathed in lights of emerald…

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CONSUELO HERNÁNDEZ “Sin Destino” - 2011 Oil on linen, 175 x 110 cm Courtesy: Consuelo Hernández 109

CONSUELO H “La Estación D

Oil on wood, Courtesy: Consu

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HERNÁNDEZ De Lago” - 2009

150 x 100 cm uelo Hernández

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About her work showed at Galeria Paz Feliz Madrid in March 2007, Carlota de Alonso wrote for the Magazine El Punto de las Artes: “The work of Consuelo Hernández often transcends the pure reality to transform itself in evocations and memories, and in imaginary worlds created by the artist, able to provoke in the observer sensations that allow to transport him to exotic or real places, released from everyday life that surrounds him”. In this trajectory we must emphasize her international projection, especially her stay in Tangier, Morocco, for 6 years (1997-2003), which left a big mark on the artist, both in a personal and creative level. During this period, her works are inspired by the decaying cityscape, especially dedicated to the Cervantes Theatre Collection: Spring, Summer, Autumn and Winter at the GranTeatro Cervantes in Tanger. The well known Spanish artist, with a great number of exhibitions, took part in international art fairs, namely in Chicago, Hong Kong, Singapur, Paris, La Haya, Madrid and also in international festivals. Consuelo Hernandez’s work, has ran through the halls of Instituto Cervantes, Tanger, Rabat, Casablanca, Fez and Tetuan (Marroco). In 2012, she presented a selection of paintings at the Present ‘Art International Festival, Contemporary Art, exhibited at the National Library of Shanghai, Pudong and at CEIBS (Art Investment Forum) in Shenzhen (China), as well as at Gallery-M, Vienna (Austria), Wison Art Museum and Global Harbor of Shanghai (China). 112

CONSUELO HERNÁNDEZ “Planeta En Roma” – 2012 Oil on linen and wood, 120 x 80 cm Courtesy: Consuelo Hernández 113

CONSUELO H “Aitor Y Jorge En P

Oil on wood, Courtesy:Consu

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HERNÁNDEZ Prícipe Pío.” - 2010

160 x 120 cm uelo Hernández

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A significant number of paintings by Consuelo Hernández, became part of private collections and public institutions such as the Museum of Contemporary Art of Salamanca “... The cyclical sunset in a park; the mass of anonymous people who populate the subway platforms of a big city, used to the loneliness of each day, an attentive and a calm look to the infinite sea, simple flowers, few buildings showing the passage of time ... human beings and objects of the small world where I live, which recreated on the canvas come to reach another universe, drawn in my own way, able to express a pretended encounter between reality and dream .... “ - Consuelo Hernández. ”Every man is born with the germ of the work that he has to accomplish”, said J. Russell Lowell, poet and literary critic. This way, the path we have started, nothing more than to be born, we start from the innate need to express feelings, emotions and vital needs, advancing to communicate with other people, about our inner world, need that among artists is defined as the basic motivation for the development of their diaries. This impulse of expression that follows the creator will take him to search, in a spontaneously way, different worlds, to the doubt of choosing between uncertain paths, to the meeting with the hazard, to the rise or to rupture with the fear in which he lives.... Here, and synthesizing, the constant subjects in my life and artistic works often turn into tangible and real universes, whose starting point is the reality that surrounds me, revealing feelings, emotions and experiences that are part of my daily existence .

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CONSUELO HERNÁNDEZ “Composicíon”- 2012 Oil on linen and wood, 120 x 80 cm Courtesy:Consuelo Hernández 117

CONSUELO H “Pirámide En Sh

Oil on linen and w Courtesy: Consu

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HERNÁNDEZ hanghái” – 2012

wood,120 x 80 cm uelo Hernández

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Fascination, watching, immersion into reality, the first phase of a whole creative process, a dialogue with the subject, with the person, with the building, with the street, with nature, which at the first brushstroke starts to materialize the inner world of the artist. I paint using the old delimit and stain with brushes or spatula some parts in light and shadow ... And, layer by layer, I go on developing, defining, changing, removing ... The time doesnâ&#x20AC;&#x2122;t matter ... Bach, Chopin, Handel, Schubert, Mahler, are my companions ...techniques. I prepare my canvases and boards, sketch the idea of the work, and Although I resist putting an end to a painting, the process and the movement are implicit in the human being and also in the artistic creation, it comes the day when I see that a little pictorial autobiography is already expressing the idea, fruit of that initial fascination. Thus the work becomes independent from the artist and draws its own relationship with others to remain through times. - Consuelo HernĂĄndez www.consuelo-hernandez.com http://www.pintura yartistas.com/top-10-pintores-espanolescontemporaneos-y-vivos/

Translation: L&S 120

CONSUELO HERNÁNDEZ “Invierno En El Gran Teatro Cervantes de Tánger”- 2011 Oil on linen and wood, 160 x 120 cm Courtesy: Consuelo Hernández 121

SELECTED EXHIBITIONS 1979: First Solo Exhibition Caja de Ahorros de Plasencia, (Cáceres). 1985: Painting Award del Ayuntamiento de Madrid-Villaverde. 1988: Colective Exhibition La realidad como objeto de contemplación. Galería Dieciséis. San Sebastián. Colective Exhibition Madrid desde Rosales; galería Arteara. Madrid. 1990: Una arquitectura en el paisaje, Caja Duero. Palacio de Garci-Grande. Salamanca. Sala municipal de exposições. Ayuntamiento de Ciudad Rodrigo (Salamanca). 1991: Solo Exhibition, sala municipal de exposições de Leganés. Madrid. Colective Exhibition – Award Penagos. Fundação cultural Mapfre Vida. Madrid. 1992: Galería Miguel Espel. Madrid. Colective Exhibition Art Chicago. Art Fair. Delecea Fine Art. Colective Exhibition Art Asia. Art Fait Hong Kong. 1993: Colective Exhibition –Drawing Award Penagos. Cultural Foundation Mapfre Vida. Madrid. Award La mujer y el Arte. Jardín Botánico. Comunidad de Madrid. 1995: Colective Exhibition Award Ejército del aire. Museo Ejército del Aire. Madrid. 1995: Solo Exhbition Galería de Arte Santa Bárbara. Madrid. 1996: Colective Exhibition – Drawing Award Penagos. Cultural Foundation Mapfre Vida. 1997: Fine Art Singapore. Colective Exhibition Art Fair Galería Santa Bárbara. Madrid. 1999: Solo Exhibition. Madrid-Tánger. Instituto Cervantes y Hotel Minzah. Tánger. 2000: Colective Exhibition Lerchundi Foundation. Instituto Cervantes de Tánger. 2002: Colective Exhibition Instituto Cervantes de Tetuán. Colective Exhibition International Festival Art Rain. Tetuán. Colectiva 6ª conférence des Lions de la Mediterranée. Mövenpich. Tánger. 2002: Exposição individual Tánger. Instituto Cervantes de Tánger. Solo Exhibition Tánger Instituto Cervantes de Rabat. 2003: Solo Exhibition Instituto Cervantes de Casablanca. Solo Exhibition Instituto Cervantes de Fez. 122

2004: Colective Exhibition galería Paz Feliz. Madrid. 2006: Colective Exhibition espacio Tribeca arte. Madrid. 2007: Solo Exhibition galería Paz Feliz. Madrid. Colective Exhibition galería Paz Feliz. Madrid. 2008: Colective Exhibition Mujeres artistas. Instituto San Isidro. Madrid. Solo Exhibition junta Extremadura. Tornavacas (Cáceres). Casa de Cultura. Navaconcejo (Cáceres). 2009: Exposição Antological Exhibition 1988-2008. Caja de Extremadura. Cáceres. 2010: Colective Exhibition galería Gaudí. Madrid. Colective Exhibition Affordable Art Fair. Internacional Art Fair. París y La Haya, Internacional Art Fair. Colective Exhibition galería d’art Patricia Muñoz. Art Faim. Madrid. 2011: Solo Exhibition Ayuntamiento de Pozuelo de Alarcón (Madrid). 2012: Solo Exhibition, Sala Maruja Mallo. Ayuntamiento de Las Rozas (Madrid). 2012: Colective Exhibition IV Edition of Present’art festival internacional in Shanghai. Biblioteca Nnacional Shanghai Pudong. Shanghái. Colective Exhibition China Europe International Art exhibition. CEIBS. Shanghái. Colectiva Wison Art Center de Shanghái. Colective Exhibition Cinco pintores españoles, Beijing. Galerías de arte Bridge y Art Guide. Distrito 798; Spaniart. Colective Exhibition galería de arte Bridge gallery. Schenzen (China). 2013: Colective Exhibition Gallery-M Viena (Austria). Colective Exhibition Art Cuestion. Ourense (España). Colective Exhibition Festival Miradas de mujeres. Art Cuestion. Ourense. 2013: Colective Exhibition Museo de Salamanca. Salamanca. V edición del Present Art Festival internacional. Wison art museum (Shanghái). Global Harbor (Shanghái). 2014: Solo Exhibition galería Botica del arte. A Coruña.

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Gerardo Dottori: The Futurist View 9 July â&#x20AC;&#x201C; 7 September 2014 Estorick Collection of Modern Italian Art, London

Gerardo Dottori (1884-1977) was a pivotal figure in Italian Futurism during the inter-war years. His expansive and intensely lyrical visions of the Umbrian landscape, viewed from above, were among the earliest and most striking examples of aero painting, which explored the dynamic perspectives of flight. A major new survey of his work, bringing together some 50 paintings and drawings will be on show in London this summer, including a large number of works which have never been exhibited in the UK before.

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Gerardo Dottori Flora, 1925

Tempera on canvas, 178 x 139 cm Comune di Perugia 125

Gerardo Study from Life in th

Watercolour on p Fondazione Accademi Vannucci

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o Dottori he ‘Ornate’ Style, 1904

paper, 64 x 89 cm ia di Belle Arti ‘Pietro i’, Perugia

127

Gerardo Spring

Oil on canvas, Comune d 128

o Dottori g, 1912

, 36 x 46.5 cm di Perugia 129

Dottori was born in Perugia and studied at the city’s Academy of Fine Arts where he excelled as a draughtsman. Around 1904 he began exploring the ‘Divisionist’ technique as a way of introducing life, light and colour into his work and as a means of escape from the gloom of the Academy. Dottori recalled how he and his fellow students ‘rebelled against the teaching methods of the lectures; we tried to make them understand our discontent and our need to do something different from what was imposed on us.’ In 1909, his rebellious inclinations made Dottori receptive to the subversive agenda of F.T. Marinetti’s newly-launched Futurist movement.

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Gerardo Dottori Young Umbrian Girl, (1904) Oil on board, 46 x 27 cm Comune di Perugia 131

A period of experimentation followed with the creation of works such as Spring which he felt captured the authentic spirit of Futurism, employing fragmented forms and vibrant colours to create a vivid sense of movement and energy. In 1912 he plunged into the Futurist adventure with great enthusiasm, cofounding one of the earliest regional Futurist groups. Dottori continued to work while serving in the Italian army during WW1, producing drawings, paintings and poetic compositions under the pseudonym â&#x20AC;&#x2DC;G. Voglioâ&#x20AC;&#x2122;.

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Gerardo Dottori Ascending Forms (or Ascending Forces), 1930 Oil on canvas, 188 x 143.5 cm Comune di Perugia 133

Gerardo Astral Rhyt

Tempera on bo Private collec 134

o Dottori thms, 1916

oard,52 x 68 cm ction, Foligno 135

Gerardo Virginal Um

Tempera on faesite (har Collezione Fondazione Cas 136

o Dottori mbria, 1949

rdboard), 122 x 135 cm ssa di Risparmio di Perugia 137

Futurism is most closely associated with its celebration of the flux and dynamism of the modern industrial age. However, while the machine was a recurrent motif in Dottoriâ&#x20AC;&#x2122;s work (particularly during the 1920s), the artist frequently expressed his preference for â&#x20AC;&#x2DC;the stillness of the countryside and the mountains to the deafening noise of big citiesâ&#x20AC;&#x2122;. And it was his native region of Umbria, with its lush, undulating landscape, to which he remained most deeply attached throughout his life. His Self Portrait of 1928, in which Dottori depicts himself embedded among its hills and lakes, is symbolic of the deep bond he felt with this rural environment.

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Gerardo Dottori Self Portrait, (1928) Oil on board,79 x 73 cm Comune di Perugia 139

Gerardo Lake-Daw

Tempera on faesite (ha Collezione Fondazione Cas 140

o Dottori wn, (1942)

arboard), 101 x 122 cm ssa di Risparmio di Perugia 141

This exploration of the career of one of Futurismâ&#x20AC;&#x2122;s most significant and distinctive characters draws on key works from a number of public and private collections and is curated by Massimo Duranti, the leading expert on the artist, and President of Perugiaâ&#x20AC;&#x2122;s Archivi Dottori.

Estorick Collection of Modern Italian Art 39a Canonbury Square London N1 2AN

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Gerardo Dottori Futurist Motif, 1920 Oil on board, 29 x 31 cm Private collection 143

JULY HIG Toronto, Canada

Amsterdam, Netherlands

Francis Bacon and Henry Moore; Terror April 5 – July 20, 2014 Gallery of Ontario 317 Dundas Street West Toronto, Ontario

Linea & Figura June 14 – July 27, 2014 Morren Galleies _ Contemporary Art Prinsengracht 572 1017 KR Amsterdam, Netherlands

Erstein, France

Lisbon, Portugal

Anthony Caro. Masterpieces from the Würth Collection February 7, 2014 – January 4, 2015 Musée Würth France Rue Georges Besse F-67150 Erstein

Contemporary Painting 11 July – 11 September Galeria de Arte AFK / Art Gallery AFK Rua Professor Fernando Fonseca 21A, Lisboa, Portugal

Hamburg, Germany

Johannesburg, South Africa

C’est La Vie - The Paris of Daumier and Toulouse-Lautrec 16 May - 3 August 2014 Hamburger Kunsthalle Glockengießerwall 20095 Hamburg

Lionel Smit- “Morphous” July 3 – July 26, 2014 Circa Gallery 2 Jellicoe Ave | Rosebank Johannesburg, South Africa

Venice, Italy

Madrid, Spain

Irving Penn: Resonance April 13 – December 31, 2014 Palazzo Grassi Campo San Samuele 3231, 30124 Venice

Alma –Tadema and Victorian Painting; In The Pérez Simón Collection 25 June to 5 October 2014 The Museo Thyssen-Bornemisza Paseo del Prado 8 28014 Madrid, Spain 144

GHLIGHTS Madrid, Spain

California, USA

Josef Albers: Minimal Means, Maximum Effect March 8, July 6, 2014 Fundación Juan March Castelló, 77 28006 Madrid

Ed Moses Larry Poons:

Zürich, Switzerland

Los Angeles, Ca, USA

The Torches of Prometheus. Henry Fuseli e Javier Téllez June 20 – October 12, 2014 Kunsthaus Zürich Heimplatz 1, 8001 Zürich

Calder and Abstraction: From Avant-Garde to Iconic. November 24, 2013 – July 27, 2014 Los Angeles County Museum of Art 5905 Wilshire Blvd, Los Angeles, CA 90036

London, UK

New York, USA

Gerardo Dottori: The Futurist View 9 July – 7 September 2014 Estorick Collection of Modern Italian Art 39a Canonbury Square London N1 2AN

The Flowering of Edo Period Painting: Japanese Masterworks from the Feinberg Collection February 1 -September 7, 2014 The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028-0198

London, UK

New York, USA

Henri Matisse: The Cut-Outs April 18 – August 10, 2014 Tate Modern Bankside, London SE1 9TG

Italian Futurism, 1909–1944: Reconstructing the Universe February 21 - 2014 Solomon R. Guggenheim Museum 1071 Fifth Avenue, New York New York, NY 10128

The Language of Paint: Selected Works May 31 – July 24, 2014 William Turner Gallery Bergamot Station Arts Center 2525 Michigan Avenue, E-1 Santa Monica, CA 90404

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JULY HIG New York, USA

Philadelphia, USA

Ai Weiwei: According to What? April 18 – August 10, 2014 Brooklyn Museum of Art 200 Eastern Parkway Brooklyn, New York

Audubon to Warhol: The Art of American Still Life

July 1–September 7, 2014 Dorrance Galleries Special Exhibitions Gallery, Perelman Building 2600 Benjamin Franklin Parkway Philadelphia, PA 19130

New York, USA Masterpieces & Curiosities: Diane Arbus’s Jewish Giant April 11 – August 3, 2014 The Jewish Museum 1109 5th Ave at 92nd St New York, NY 10128

New York, USA Charles James: Beyond Fashion May 8–August 10, 2014 The Metropolitan Museum of Art 1000 Fifth Avenue New York, NY 10028-0198

Philadelphia, USA Patrick Kelly: Runway of Love April 27–November 30, 2014 Special Exhibitions Gallery, Perelman Building 2600 Benjamin Franklin Parkway Philadelphia, PA 19130 146

GHLIGHTS

147

Julho, 2014

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