Eduardo Arroyo

EDUARDO ARROYO

Marlborough New York 545 West 25th Street New York, NY 10001 + 1 (212) 541 4900 marlboroughnewyork.com

Marlborough Fine Art London 6 Albemarle Street London W1S 4BY + 44 (0) 20 7629 5161 marlboroughgallerylondon.com

Galería Marlborough Madrid Calle de Orfila 5 28010 Madrid, Spain +34 913 19 14 14 galeriamarlborough.com

EDUARDO ARROYO

PAINTER, PUGILIST, PROVOCATEUR

Sarah Wilson

Eduardo Arroyo was until October 2018 Spain’s most celebrated living painter. A violent critic of the fascist dictatorship of General Francisco Franco, he left his home country in 1958. He soon joined Paris’s international community of politicised artists, including those who fled America like Peter Saul or the Haitian artist Hervé Télémaque, in the run up to the revolution of May 1968. He dominated the major post-Franco exhibition of Spanish art at the Venice Biennale of 1976. The most celebrated Spanish writers, Juan Goytisolo and Jorge Semprún, later Spain’s first Minister of Culture, were friends who wrote about his work. He would design a play embracing the most tragic dimensions of the anti-fascist struggle with Semprún in 1995.1

Arroyo became a driving force of the European Narrative Figuration movement, while anticipating by well over a decade the appropriations of the New York Pictures Generation. What I call his ‘killer-quotations’ link him to his great precursor Francis Picabia, with whom he has strong affinities.2 And just as for Picabia and Marcel Duchamp the mysterious boxer Arthur Cravan became a hero, a bevy of boxers, in particular Lord Byron and Panama Al Brown became emblematic for Arroyo and his own pugilistic position.[3] Boxer, chimney sweep, outcast: the protagonists in Arroyo’s paintings and sculptures are so often alter egos; his work is always aggressive, challenging, and ironic with a twist and a joke. Yet the theme of exile is constantly present, hence his disguised fellow feeling and compassion. Arroyo was also one of the greatest European opera and theatre designers of the later twentieth century, fearlessly embracing grandiose themes from the past and present.4 This dramatic background suggests a larger context for motifs such as Faust, 1976, a male figure seen from behind, which refers back to a landmark Paris performance.5 Despite the histrionics, the artist’s underlying insistence on humanism contrasts with the real cruelty and the bathos of post-war and Cold War politics as played out on a world stage.

In 1975, Arroyo showed in European Painting in the Seventies at the Los Angeles County Museum of Art, where he declared: ‘After a nearly total eclipse lasting almost fifteen years, the idea that the United States seems interested again in European painting surprises and fascinates me simultaneously. While in Europe we were constantly kept in touch with every little fact concerning the evolution of any American artistic activity, it seemed that a blackout had fallen over the other side of the Atlantic, prohibiting any artistic and cultural interest.’ 6 Once again we raise the curtain in this historic exhibition.

Should we call Arroyo’s work ‘Pop’ with the term’s now globally expanded usage following exhibitions in London, Philadelphia, and Budapest?7 Or in particular Málaga, where Reflections of Pop put Arroyo together with Luis Gordillo and the two groups Equipo Crónica and Equipo Realidad in 2016? Certainly, Arroyo’s Spanish contemporaries (many of whom showed in Paris in the 1960s) were rooted in context where singers such as Raimon picked up on the music of the Rolling Stones and the impact of much British art and graphic design was strong.8 We discover here the boom in Pop Art under the labels of nou realisme in Catalonia and New Figuration in Madrid. (Arroyo’s position was in line with the vehement refusal of Picasso or Pablo Casals to have any contact with life under dictatorship.)9 These recent shows inevitably tend to perpetuate the idea that the European response to America was imitative, rather than based on highly critical reversals, and ignore the decades-long Narrative Figuration movement in Europe. The trajectory of Arroyo and his friends bears witness to this persistence: all, actively exhibiting elsewhere, came to celebrate the great Grand Palais Paris retrospective of 2008.10 US Pop was a celebration. Narrative Figuration, like Critical Realism in Germany or Moscow Conceptualism, was not, just as US postmodernism must also be distinguished from its European counterpart which worked through longer histories and memories. To reintroduce Arroyo, this grand homme within the Spanish tradition, is our challenge.11

Spain from Afar

America is insistently present in Arroyo’s early work, as it was in Spanish post-war politics. The very young Eduardo clandestinely devoured American literature in Argentinian editions that escaped the censor—and was a youth basketball champion.12 He pays wry homage to this moment late in life, in the Cristóbal Colón series of 1992 [p. 60 65], where Mickey Mouse is a hero: but a Mickey renamed after Christopher Columbus— for Spanish culture, as anyone knows, transformed the wild Americas centuries before cultural exports in the opposite direction. One of Arroyo’s earliest critical acts, working from Paris, was to upend Francisco Goya’s famous Maja desnuda and to repaint the nude with a background of Stars and Stripes as La maja de Torrejón: the Torrejón de Ardoz air base (within the Community of Madrid) was taken over by US military forces to house

their largest bomber on an extended runway, opening officially in 1957. The critique is expanded in The Billiard Table: Geographical Map of American Bases in Spain, 1970 [p. 22]. With its black ground, the striped frame spelling out the colours of the Spanish flag, the billiard table in itself is not an innocent motif (Van Gogh, as precursor, haunts Arroyo) but here, the stakes of the game are high. Franco signed the Pact of Madrid in 1953; economic and military aid from the US followed to the tune of millions of dollars in return for the establishment of several air bases (Torrejón, Zaragosa in the northeast, Morón in southern Spain, and Naval Station Rota on the southern tip in the Province of Cádiz). President Dwight D. Eisenhower visited Franco in 1959. Four years after the most dangerous H-bomb accident in 1966, President Richard Nixon was awarded the golden key of Madrid in October 1970.13 This normalisation of the dictatorship was abhorrent to anti-fascists; more so in the context of the Vietnam War and seething anti-American sentiment among the European left.

By 1969, Arroyo, already living in Italy, was collaborating with Klaus Michael Grüber at the Piccolo Teatro in Milan. Their production of Arthur Adamov’s Off Limits pilloried the impotence of American intellectuals in the Vietnam War context across five sophisticated New York evening parties. ‘Arroyo built a set on two levels: a green golf course lawn lined with little American flags...Behind this scene a large plastic block covered with toilets, bidets, and other sanitary installations [a Duchampian urinal], over which an amputated Statue of Liberty reigns.’ 14 Evidently The Billiard Table suggests both the territory of Spain and a painting-sized transposition of this ‘golf course lawn.’ The ‘balls’ (Stars and Stripes cake supports—one is topped with a cupcake) are arranged symmetrically: a game is proposed. Which champion players with billiard cues will make calculated moves, create collisions, casualties, spin-offs, rewards? Arroyo creates visual and conceptual metaphors for his contemporary attack: these now require our focussed historical imagination.

With our distance from afar in both time and space, what is the meaning of The Wife of the Miner Pérez Martínez, Sama de Langrea, Asturias, also of 1970 [p. 24]? The black ground, the red and yellow stripes indicating the Spanish flag again (repeated with her dangling earrings) set off the stark bald head with its pained expression, its flowing tears. This is a woman whose head has been shaved—in the Spain of 1963—as an act of humiliation. As early as 1967, for his exhibition in Rome, Miró refait, a ‘redoing’ of Miró, Arroyo had taken Miró’s 1921 portrait of a Spanish dancer, shaved her head and rebaptised her in honour of the wife of miner Victor Bayon, the woman who led the strikes of April 1962. His painting was titled Sama de Langrea, Asturias, September 1963: Miner’s Wife Constantina Pérez Martínez (known as ‘Tina’) Shaved by the Police.15 Arroyo’s show in Rome was restaged in Paris in 1969.16 Tina appeared in another version in Trenti anni dopo (‘thirty years later,’ referring to the Franco regime) held in Milan that year, showing not only shaven heads but multiple murders: Death in Granada, Not Far from the Costa del Sol… (always with the black ground

and striped, diagonal bands representing the national flag). Only in 1972, however, when Arroyo was offered a major show travelling from Paris to the Frankfurter Kunstverein and to Berlin, was he able to publish a photo of two women from San Sebastián, shorn by Franco’s troops in September 1936.17 His detailed inventory of shame offered a documented update around the 1963 strike reprisals which took place, obscenely, in the context of rapidly expanding tourism. One learns that Constantina Martínez was tortured before she was shaved; she would die after more police torture in 1965.

Arroyo was a pioneer. He did not intend to be a painter and was self-taught. Yet arriving in Paris in 1958 (after comprehensive military service), he managed to exhibit by 1961 and to show in London in the Crane Kalman Gallery by 1962: soft, opaque coloured caricatures of Napoleon (his bicorne hat remarkably similar to Franco’s Civil Guards’ tricornio), with epaulettes and distant pyramids, and a Benito Mussolini disguised.18 His dealers collaborated for a show in Madrid the following year (he avoided the private view) where his doubled portrait of the toreador Cuatrodedos—the doppelganger naked, a tumble of spilling guts—was so obviously a parody of Franco, marked clearly with the Spanish colours, that the exhibition was closed by the police.19

Similar paintings by Arroyo exploded upon the French scene at the Third Paris Biennale of 1963: four huge parodies in oil of dictators Mussolini, Hitler, Salazar, and Franco, identifiable by their flags,with twisted entrails exposing ‘my vivisections’ [Fig. 2].20 Their installation was part of a menacing collaboration called Slaughterhouse. It provoked protest and an intervention by Culture Minister and Biennale founder André Malraux and a covering of the national flag references to escape the wrath of the Spanish Embassy. In 1964, Arroyo took part in the show Contemporary Mythologies, conceived in part as a riposte to Robert Rauschenberg’s shock Venice

[2] Eduardo Arroyo, The Four Dictators, 1963, oil on canvas Collection of Museo Reina Sofía, Madrid

Biennale prize. 21 During the summer his work toured in a major New Realism and Pop Art show that moved from The Hague to Vienna, Berlin, and Brussels, in the company of his most important European contemporaries including Duchamp.[22]

Realism as a Weapon

Arroyo’s role as curatorial mastermind is important. He transformed the Young Painters’ Salon of 1965 into a concerted group show of paintings, each two-by-two metres, devoted to ‘green’—a wilful politicisation of insipid still lifes and landscapes.23 Here, his Six Lettuces, a Knife and Three Peelings [Fig. 3] serially changed lettuces into the head of the revolutionary young Napoleon Bonaparte (reversing Charles Philippon’s famous topos of King Louis-Philippe turning into a pear). This call to action was enhanced by the invitation to British Pop artists, the Spanish Equipo Crónica and Munich’s militant Gruppe Spur. At the same time, in January 1965, with special friends he was exhibiting A Passion in the Desert, based on a story by Honoré de Balzac, where a soldier marooned in the Egyptian sands makes love to a leopard whom he kills.24 Here, narrative progresses through a sequence of paintings; again, collaboration for Arroyo was imperative. In the summer of 1965, a double solo show 25 ans de paix (under the Spanish flag) at the Galerie André Schoeller with recent work (under the French tricolour) at the venerable Galerie Bernheim Jeune was a tour de force.25 Deriding a mythic ‘twenty-five years of peace’ under Franco, Jorge Semprún declared ‘Spain does not exist. It makes itself…with rage, with insolence, with words, with a pen, with a paintbrush—wielded like a sword, a hammer, scissors, some have decided to demolish myths.’26

In the context of this presentation, it is important to acknowledge major works by Arroyo, little known in the US, now considered milestones of European art. Later in 1965, for example, Arroyo, Gilles Aillaud, and Antonio Recalcati created the eight-panel Live and Let Die or the Tragic End of Marcel Duchamp [Fig. 4] Brilliantly conceived with staged action photographs posed by the artists then projected and painted, it dominated the exhibition Narrative Figuration in Contemporary Art with its James Bond film allure.27 Duchamp, nude, kicked headfirst down his staircase, has no genitals—not the first of Arroyo’s critiques of authoritative masculinity. Duchamp’s coffin is covered in the Stars and Stripes (a reference to his American citizenship) and the scene was based upon Kennedy’s funeral. French expatriate artists and critic Pierre Restany joined American artists such as Rauschenberg and Warhol around the coffin. This was a denunciation not only of American domination, but as the artists said (à propos of Duchamp), ‘Better to paint and not to sign than to sign and not to paint.’

The mural Cuba Colectiva of 1967 is another milestone, bearing witness to a remarkable moment when Arroyo, with many other painters, took a plane to Fidel Castro’s Cuba and created a vast spiralling group work as a televised performance, joining Cuban artists and intellectuals from all over the world.29 The group work, The Datcha, followed in 1969 [Fig. 5].

Size mattered: works in the museum exhibition Comic Strips and Narrative Figuration in April 1967 were eclipsed by James Rosenquist’s room-sized multi-panel F-111—a stop-off on its highly contested European tour.[30] Many paintings of very large dimensions or serial representations were created as a result.[31]

The Datcha could not be more French, in its (Soviet-style) parody of the French intellectuals Claude Lévi-Strauss, Jacques Lacan, Roland Barthes, Michel Foucault, and Louis Althusser. Conceived by Arroyo and sketched by Lucio Fanti, the execution in oils was undertaken by Arroyo’s friends Aillaud, Francis Biras, Fabio Rieti, and Fanti himself. It was a sensation at the Police and Culture Salon of July 1969. Not only politics demarcated the gulf between Narrative Figuration and American Pop Art—highly visible in Paris thanks to the operations of Leo Castelli with Ileana Sonnabend’s gallery—but the specific add-on of these French intellectuals, even though young painters mocked them as already passé 32 The Datcha was a monument—and was exhibited as such with major works such as Edward Kienholz’s Five Car Stud in Düsseldorf in 1973.[33] Narrative Figuration was therefore not a reaction to US Pop alone, but embraced British Pop, projections with an epidiascope then slide projector, and as The Datcha demonstrates, the heritage of European socialist realism in conjunction with structuralism, neo-Marxist debates and an active conversation with new wave cinema.34 While contemporaries Jacques Monory and Gérard Fromanger used projected photography cinematically (Michel Foucault would call this ‘photogenic painting’), Arroyo, like Hervé Télémaque or Bernard Rancillac, generally preferred to stay flat.35 (His early photographbased self-portraits as Robinson Crusoe are an exception). Flatness—and here one remembers his earlier artist-heroes such as Fernand Léger or Jean Hélion—offered more scope for enigmatic signs and significations in coloured painterly spaces.

May ’68—where Arroyo joined the poster-makers of the Atelier Populaire—indeed marked a major watershed in French post-war history, but the disappointments of life in Paris after the revolution’s effective failure incited Arroyo to leave. He participated nonetheless in the ‘Red Room for Vietnam,’ a salon installation postponed to early 1969, in militant contrast with the ‘green’ salon of 1965.36 Engaging now with theatre at its most exciting, the Piccolo Teatro and his new life in Italy, Arroyo made a series of paintings which contextualise the female portrait. Bohème II [p. 26] was shown in Milan in 1973 (along with many boxers). Her laughing, made-up face with its Picabia-like kitsch glamour—Arroyo would own Picabia’s Portrait of a Woman of 1940—refers explicitly to a contemporary performance, where the heroine’s breast is covered with badges and pins.[37]

[4] Eduardo Arroyo, Gilles Aillaud, Antonio Recalcati, Live and Let Die or the Tragic End of Marcel Duchamp, 1965, oil on canvas Collection of Museo Reina Sofía, Madrid

[5] Eduardo Arroyo (conception), Gilles Aillaud, Francis Biras, Fabio Rieti, Lucio Fanti, The Datcha, 1969, oil on canvas Artist’s collection/Private collection

From Berlin to Venice

After Arroyo’s trip to Berlin to create décors for The Bacchae after Euripides— one of Klaus Michael Grüber’s most mythic productions for the celebrated Schaubühne—he accepted the offer of a one-year artist’s stipend from the very active DAAD (German Academic Exchange Service) organisation in 1975 76. West Berlin was only part of a divided former capital in Sovietcontrolled East Germany, painfully cut off by the Berlin wall from it eastern half. For the first four months, thanks to the loan of a large studio by Jens Jensen—and already appointed to the selection committee for the Venice Biennale of 1976—Arroyo painted his life-size reworking of Rembrandt’s Night Watch, or Night Watch with Stakes as he called it, expanding the work to its original size, adding a Spanish sunset and sunrise.38

With his companion, the photographer Grazia Eminente, the internal contradictions he experienced, living in the Kreuzberg area—once central, now peripheral—offered a new focus. The heavy presence of Turkish and Palestinian immigrants in the quarter were superbly photographed by Eminente. Shopfronts and scenes from everyday life offered a rough challenge to the glories of Nefertiti in the Egyptian Museum near the Charlottenburg Palace. What was the meaning of ‘Oriental’ for this proletarian in exile? Abandoning his normal practices, Arroyo found ‘poor’ material to work with: old parquet flooring, lino, black grooved or studded rubber which he turned into mats, cut and carved with kilim-like diamond patterns. See the black jackal Anubis, funerary god and protector of the necropolis in this show—or is Perro de Kreuzberg [p. 34] just a stray dog?

As the poet Jean-Christophe Bailly said in his preface to the artists’ joint exhibition, ‘Turkey isn’t Egypt, and Egypt is not Ancient Egypt, but the third

world begins in Kreuzberg.’[39] Yet this strange, claustrophobic atmosphere with its moments of exchange and compassion marked the beginning of a new liberty for Arroyo, who was following, day by day, the death agony of Franco, by radio and on the telephone to his family: ‘A breath of hope or the end of a nightmare for me and for Spain.’ 40 The funereal black rubber pieces were shown at the Akademie der Künste in Berlin and later in Paris.[41]

Arroyo’s curatorial role in the Venice Biennale’s Attualità internazionali ’72 76 was controversial but—bearing in mind his arrest and imprisonment by Franco’s regime in 1974 and the confiscation of his passport—how intensely must he have savoured Spain: Artistic Vanguard and Social Reality (1936 1976), the 1976 Biennale pavilion centrepiece, celebrating Spain’s newfound freedom.42 It attempted to reconstruct the Spanish Pavilion at the 1937 Paris World’s Fair (minus Picasso’s Guernica) showing Alexander Calder’s mysterious Mercury Fountain together with many Republican posters. [43] Alongside contemporary Spanish artists such as Antonio Saura, Arroyo’s Night Watch was the largest, most impressive figurative statement.

Down with Painters!

Arroyo had a very low opinion of painters. He often used paint as a means of negation. In King Kong, 1985, Arroyo acts like Picabia, who often obliterated his characters with daisies or with spots (as in The Spring, 1943). Firstly, Franco himself was an enthusiastic painter; Adolf Hitler transitioned from painter to dictator and was mocked in a drooling portrait by Arroyo as the Painter of Monaco (renamed later as the Painter of Munich) 44 More affectionately, Arroyo devoted a whole series to Winston Churchill, shown painting in locations from Chartwell to Antibes, to El Alamein, and exhibited with huge photo-based equestrian portraits of Queen Elizabeth II in Brussels.45 Amongst the Painters No. 5, 1969, in the Brussels show, already spatters the faces of artists with dabs of colour, just as in Blind Painters, 1975 [p. 25], who wave their white canes. These artists are not just blind but imbeciles: bête comme un peintre (‘as stupid as a painter’), as the French say. These stupid painter characters reappear frequently in Arroyo’s work; see the collage Amongst the Painters, 1976 [p. 32]. Sailor [p. 128] and Soldiers [p. 130] reworks the trope again in 2014, the heads always doubled, altered photography just as powerful as altered painting.

Alibis and Heroes Revisited

Major canvases and series of canvas have focussed throughout Arroyo’s career on heroes in exile and their often tragic ends, an imaginary universe which has given rise to major paintings such as Angel Ganivet Throws Himself into the Dvina, 1977, which was shown with works relating to James Joyce’s Ulysses and others in 1978. Or there is the sad case of the intellectual and poet José Maria Blanco White, pictured in the Tate Gallery

and British Museum also that year.[46] Let us not forget the unholy fusion of the suicide of anti-Franco student Rafael Guijaro, his upside-down legs painted as he falls past a window in 1970, and its Duchampian transposition into the inverted Clothed Man Descending the Staircase of 1976.

While Arroyo excelled at turning people and values upside down—whether Duchamp nude or clothed, Churchill or Gorbachev, in carnivalesque, Bakhtinian mode or with shocking, unexpected props in his theatre productions (the forest of chairs in Faust-Salpetrière, 1975), one thing is clear. He was on the side of the victim, the underdog, choosing not the heavyweight but the bantam-weight boxer for example. (Arroyo produced Bantam in 1986, with his own script and decors by his long-time accomplices Gilles Aillaud and Antonio Recalcati). He appreciated not only skill and dexterity but the overcoming of disadvantage, and moments of fragility: Byron the boxer with a club foot. Let us remember that the etymology of Oedipus is ‘swollen-foot’—and that Arroyo was fatherless from the age of six. While entirely protective of his personal life, Arroyo was an unexpected pioneer in the critique of masculinity, linked, of course, to political power. One of his most Picabiaesque works, The Spanish Cavalier, 1970 [Fig. 6], in the Pompidou Centre collections is based on a postcard of the female dancer Lya de Putti in The Prince of Tempters, 1926.[47] With a gesture towards Picabia’s La nuit espagnole, 1922 (which he parodied explicitly in a series from 1983 5), Arroyo here queers flamenco. Likewise, his parody of the varieties of fascist moustache in Spain is both hilarious and sociologically acute.[48] (One recalls the moustachioed Salvador Dalí preening among the artistic and hippy community in Port Lligat in the 1970s.)

In 1980 come the chimney sweeps [p. 44 51]. Bizarrely, on the way to the airport in Zürich, Arroyo’s taxi collided with a chimney sweep on a bicycle. The artist may later have recalled another collision with a childhood memory, that of the soot-faced sweep with the coal-besmirched faces of the miners of Robles de Laciana.49 An elegant sweep was invited to the opening of his Zürich show with Galerie Maeght.50 Arroyo’s sweeps’ traditional top hat and tails also correspond with the panache of Fantômas [Fig. 7], the top-hatted master of crime (with a touch of Arsène Lupin) beloved by the early avant-gardes—and with the idea of the boxer en smoking—as the French say, the boxer in a tuxedo.[51]

The mysterious sweep/Fantômas figure penetrates scenes to which he does not belong: entering spaces that belong to bourgeois, everyday life; he offers both distance and potential commentary—like a character in a Greek tragedy chorus or in a play by Bertolt Brecht. The sculptured sweeps’ heads demonstrate Arroyo’s skill at variations on a theme. Different noses, faces, lips, eyes as add-ons impudently challenge the nobility of bronze and the long tradition of the portrait bust. The sweeps connect, rather, with sandpaper collages on the same theme, their brothers and point of origin. How magnificent these sculptures looked, arranged in a curve-walled space of the Guggenheim Museum in 1984 [Fig. 8],

[6] Eduardo Arroyo, The Spanish Cavalier, 1970, oil on canvas Collection of Centre Georges Pompidou, Paris

the sweep with the golden top hat (No. 6, 1983) evidently the king of the tribe.52 They were set off with a background of large-scale drawings, where the device of a black face in profile with top hat, plus one black hand on otherwise blank paper bestowed depth as well as personality to Arroyo’s characters. The museum’s acknowledgement of the artist’s stature—in New York’s effervescent postmodern context—redisplayed sweeps from his important solo show at the Leonard Hutton Galleries in 1983. This had included archetypal works, such as his parody of Velázquez’s dwarf, Sebastián de Morra, 1970, and major paintings from the José Maris Blanco White series (1978 9). The sweeps were here encountered as Jack, Bud, Vic, Ric, Joe, Ted, Al, Dick, and more—all following his Pompidou Centre retrospective success in Paris in 1982.53 The sweeps preceded further experiments with sculpture—using bronze and copper rings, mischievously acknowledging the Spanish tradition, like the Dame d’Elche, or experimenting with brick, driftwood, odds and ends. Azulamina, 1987, a piece of wood with blue paint, blue plastic, and a twist of metal—an old bell pull suggesting a curly moustache—inevitably bringing to mind the earlier sculptural experimentation of Arroyo’s bête noire, Joan Miró.54

Fantômas haunts Arroyo’s games with anachronism (the very stuff of theatre). Monsieur Fantômas and Madame Fantômas masked and in deliciously anachronistic attire, peek into other pictorial spaces in 2011, those of the square-jawed blond man in coloured shades. The Spanish Bride of Fantômas, 2016, wears a full-face mask: surely an Old Master portrait is appropriated here. The masks waver between the eroticism of the black moreta muta for eighteenth-century Venetian ladies (see paintings by Pietro Longhi or Felice Boscaratti) and the more extensive bank robber’s balaclava with grimacing mouth slit.55 In another mode (and here one recalls Picabia’s wartime ‘Pocket paintings’ with their monstrous inscribed faces) the superposition of a drawn mask can be both grotesque and supremely decorative.

Heroes Revisited

In 2014 Arroyo took on the great French writer of the Human Comedy, Honoré de Balzac [p. 122 125], and created a series of works mostly on paper including sculpted collages, relating to the novels’ characters, first exhibited in Madrid in 2015.56 In 2017, Paris’s Maison de Balzac, near to the street which now bears his name, offered the most striking restaging of A Passion in the Desert (not seen by Parisians since 1965), prior to the posthumous Human Comedy exhibition for Arroyo in 2020 [Fig. 9].57 His

[8] Installation view from Eduardo Arroyo, March 30 – June 3, 1984, Solomon R. Guggenheim Museum, New York © Solomon R. Guggenheim Foundation Archives, New York

[7] Pierre Souvestre, Marcel Allain Fantômas Paris, Fayard, 1911

18 Rue Fortunée [p. 116 121] works also refer to Balzac’s house.[58]

A series of 2016, just two years before his death, commemorated other heroes: Ferdinand Hodler and His Model, 2016 [p. 136], portrays the Swiss painter with a highly truncated version of his famous Woodcutter, 2010, on its white ground in a hybrid space backed by a red brick wall. Another hero is the weeping Oscar Wilde (uncle of boxer Arthur Cravan) [p. 142], imprisoned behind the grey bricks of Reading jail, his long red varnished nails matching his eyebrows; he was to die in exile. We encounter Van Gogh [p. 144], prone and apparently a marked-up corpse on his own billiard table in Auvers-sur-Oise (although his notorious billiard table was in the Night Café in Arles, 1899); his famous peasants’ boots are pasted on like a collage.

With the smaller-format work Arroyo has long been a tease; he amuses himself as he lays trails; we must guess the answer from clues or remain baffled. Unlike The Phantom Ship [p. 146] (the reference is to Richard Wagner’s opera, The Flying Dutchman), The Masked Dispute, 2003 [p. 88], does not, for once, refer to an opera, I believe, but to Mexican masked wrestlers, while the grimacing face in Epiphany in Kiev, 2002 [p. 76], will be about to immerse the rest of his body in icy water. The increasingly rare readers of Vladimir Nabokov, notorious for his novel Lolita, will know that he was a professional butterfly fancier. His first pictorial murder here depicts the writer’s head with butterfly—but has he actually metamorphosed into the insect in Nabokov’s Murder II [p. 86]? These small later works, mixing childhood figures and memories, where Mickey joins Pinocchio are charming, their innocence perhaps not inadvertent.

Arroyo has little time for heroines, however—despite their force and dominance in the opera. Spain’s great Republican, La Pasionara has her place—as does the Spanish singer Carmen Armaya (compelled to fry her sardines in New York’s Waldorf Astoria), together with Mamá Cenicienta [p. 68], the wicked stepmother in the Spanish version of Cinderella, who shares certain features here—including the collage conception—with Lucrezia Borgia and the Queen of Spades. (Arroyo conceived the décors for Rossini’s La Cenerentola in a Grüber production of 1986 in Paris). At the end of his long life Arroyo expresses, through a title, a certain admiration for Fraulein (Margaret) Steiff, the redoubtable invalid, affected by polio, who invented the Teddy Bear in Germany, marketing them in millions to America [p. 148]. Teddy Roosevelt, moustachioed and in hunting outfit, points to Steiff’s upside-down sewing machine against a background of teddy-bear wallpaper (à la Warhol’s cows).

The Paradise of Flies

Flies persist in Arroyo’s œuvre, from his early fascination in the family home, the young painter counting flies in still lives—to the archetypal Shirt and Fly of 2007 [p. 100] (this ‘V’-motif was originally conceived in black rubber in

[9] Le Comédie humaine: Balzac par Eduardo Arroyo Book published on the occasion of the exhibition organized at the Maison de Balzac from February 6 to May 10, 2020.

Berlin, but used again and again)—together with his host of fly sculptures [p. 102]. The Paradise of Flies is the title of a major painting of 1999 and a memoir 59 Flies are associated with irritation, interruption, noise, bites, stings, putrefaction, and death. Arroyo quotes Wittgenstein’s gag about the purpose of philosophy: ‘To show the fly the way out of the fly bottle’ (where others are uselessly buzzing).60 Indeed in Dans des cimetières sans gloire, he traces the death of flies stuck on fly paper (Robert Musil), ferocious war flies (Javier Marías), or W. G. Sebald and Maurice Sachs’s souvenirs of iridescent green flies during the bombing of Hamburg—and the swarm entering Stefan Zweig’s bedroom in Petrópolis, Brazil, where in exile he would commit suicide.61 The fly for Arroyo may also be conflated with Napoleon’s golden bee, appropriated as the ‘symbol of a Republic that has a leader.’ 62 No fewer than 1,500 bees were embroidered onto the coronation mantle of the self-crowned Emperor-dictator in 1804: Napoleon’s invasion of Spain in 1808 provoked the dreadful atrocities commemorated by Francisco Goya.

Arroyo’s sarcastic humour continued perpetually to combat the dark vision of his later years: Dans des cimetières is ostensibly a meditation upon Goya, Walter Benjamin, and Lord Byron as boxer, three men who died in exile.63 The Benjamin chapter abounds with suicides, leaving the paradise of flies to the remaining fascists, while Byron’s death in Missolonghi fighting for Greek independence, with his deformed foot yet ‘still dynamite-charged fists,’ leads Arroyo back to his abiding boxer obsession. But is not Arroyo more akin to the Goya he describes, although an artist living centuries after his great precursor? ‘Goya paints the portrait of the paradise of flies, this troubling and troubled Spain which we can still touch today, and which lives perpetually within us. The painter imposes his vision on Spain, and forces it to look in the mirror, distorting but terribly realist. Goya focuses…It’s more than light. It’s an exasperation, a projector, continuous illumination. A sol y sombra, sun and shadow, rent apart, stained with red and black, drenched in blood.’ 64

Exasperation, a projector, continuous illumination—and humour: Eduardo Arroyo.

1 Jorge Semprún, Bleiche Mutter, zarte Schwester [Pale mother, tender sister], trans. Hanns Zischler (Kunstfest Weimar, 1995); translated into French as Le retour de Carola Neher (Paris: Gallimard, 1998). Performed in the Soviet military cemetery near Weimar, this was inspired by Semprún’s personal memoirs of Buchenwald concentration camp, Literature or Life (New York: Penguin, 1998) translated by Linda Coverdale from the original French l'Écriture ou la vie (1994). The German title is a reference to Bertolt Brecht’s 1933 poem O Deutschland, bleiche Mutter! [O Germany, pale mother!].

2 Sarah Wilson, ‘Of lettuces and kings: the killer quotations of Eduardo Arroyo,’ keynote lecture, Association of Hispanists of Great Britain and Ireland, University of Durham, England, 8 April 2019.

3 See Eduardo Arroyo, Panama Al Brown, 1902-1951 (Paris: Editions Jean-Claude Lattès, 1982; many re-editions) and Eduardo Arroyo: Knock-Out (19691996) (Lausanne: Musée Olympique, 1997) in French and English.

4 Eduardo Arroyo, Madrid, Museo Nacional Centro de Arte Reina Sofía, the most comprehensive study up to 1998 (10 February – 13 April), includes photographs of Arroyo’s major stage sets, mostly in collaboration with the great director Klaus Michael Grüber, who would later join Arroyo and artist friends in the famous communal studio complex in Paris, La Ruche. The affinity between Spain and Germany dates to the period of Habsburg rule, preceding their shared experience of fascism.

5 Johann Wolfgang von Goethe, Faust-Salpêtrière, trans. Gérard de Nerval and Henri Lichtenberger (Paris: Christian Bourgois Éditeur, 1975), referring to the 1974-75 production directed by Grüber, performed in the chapel of Saint-Louis de la Salpêtrière (the former women’s prison and hospital), Paris.

6 Arroyo in Maurice Tuchmann, ed., European Painting in the Seventies: New Work by Sixteen Artists (Los Angeles: Los Angeles County Museum of Art, 1975), 45.

7 The World Goes Pop, London, Tate Modern, 2015; International Pop, Minneapolis, Walker Art Center, 2015 (travelling to the Philadelphia Museum of Art); Ludwig Goes Pop + The East Side Story, Budapest, Ludwig Museum, 2015-16 (no catalogue).

8 Simón Marchán Fiz, ‘Più-Pam-Pop: Reflections on Pop Art,’ in Reflejos del Pop / Reflections of Pop, ed. Lourdes Modeno (Málaga: Fundación Palacio de Villalón, 2016), Museo Carmen Thyssen, 17 March – 4 September 2016. Umberto Eco’s writing on mass culture, Apocalipticos e integrados (Milan: Casa Editore Valentino Bompiani, 1964; Barcelona: Lumen, 1968) was important. See also Michelle VergniolleDellale, Peinture et oppositions sous le franquisme (Paris: L’Harmattan, 2005).

9 Arroyo mentions his admiration for this stance in Trente-cinq ans après (Paris: Union Générale d'Éditions, 1974), 9.

10 Jean-Paul Ameline, ed., Figuration Narrative: Paris, 1960 -1972 (Paris: Réunion des Musées

Nationaux, 2008) and Ameline with Yan Schubert, eds., The Narrative Figuration (Geneva: Fondation Gandur pour l’Art; Milan: 5 Continents Editions, 2017); see also Sarah Wilson, The Visual World of French Theory: Figurations (London: Yale University Press, 2010), https://www.aaeportal.com/ publications/-20753/the-visual-world-of-frenchtheory--figurations.

11 Mireya E. Lewin, Antoni Tàpies and Cultural Identity: Between the National and the International (PhD dissertation, Courtauld Institute of Art, University of London, 2009), examines the Spanish artist within the competitive discourse of the grand homme still prevalent in Spanish and French culture: see Maurice Godelier’s anthropological study, Le production des grands hommes: Pouvoir et domination masculine chez les Baruya de Nouvelle-Guinée (Paris: Fayard, 1982).

12 ‘My head filled with the terrible Argentine translations of Faulkner, Hemingway, Dos Passos, Caldwell, Lewis…’ Arroyo in J. F. Years, ‘Sparks in the Wind,’ in Knock-Out, 11.

13 The H-Bomb fallout incident (which could have contaminated the sea) is added to Arroyo’s Trentecinq ans après, 25, prior to the photos of Nixon’s 1970 visit which also feature in 30 Jahre danach 30 ans après (Frankfurt: Frankfurter Kunstvverein, 1971), see note 17.

14 Stephen Locke, ‘Klaus Michael Grüber,’ The Drama Review 21, no. 2 (June 1977), 45-58. See also https://archivio.piccoloteatro.org/eurolab/index. php?IDtitolo=130.

15 Eduardo Arroyo, Miró refait ou les malheurs de la coexistence, Rome, Galleria Il Fante di Spada, from 11 November 1967, with Miró reproductions (see no. 9), preface by Gilles Aillaud.

16 Miró refait ou les malheurs de la coexistence, with Gilles Aillaud’s preface of October 1967 in the original French, Paris, Galerie André Weill, 14 February – 2 March 1969.

17 Arroyo, 30 Jahre danach, 30 ans après, Paris, L’A.R.C., Musée d’Art Moderne de la Ville de Paris, 2 – 28 March 1971; Frankfurt, Frankfurter Kunstverein, 16 April – 23 May 1971; Berlin, Neue Gesellschaft für Bildende Kunst, 7 October – 5 November 1971; catalogue in German and French.

18 Eduardo Arroyo, London, Crane Kalman Gallery, 4 November – 8 December 1962; this mentions 8 Parisian Painters, Baden-Baden, Mannheim, and Hamburg, with a printed review by Edouard Roditi, Arts, New York, January 1962. A separate invitation card is for Miguel [sic] Arroyo and Giacomo Baragli (sculptures), 13 November – 8 December 1962.

19 Eduardo Arroyo Madrid, Galería Biosca (with the Crane Kalman Gallery, London, and the Galerie Claude Levin, Paris), 17 October – 20 November 1963. See Fabienne Di Rocco in The Narrative Figuration, 56-7.

20 Arroyo, Abattoir (‘Slaughterhouse’), in Troisième Biennale de Paris, 23 September – 3 November 1963 (Paris: Musée d’Art Moderne de la Ville de Paris,

1963), no. 220, 170. (A hugely international show including Eastern bloc, African, and South American countries, the USSR, Israel—and Spain).

21 Mythologies quotidiennes, Paris, Musée de la Ville de Paris, July – October 1964. See Wilson, The Visual World, 73-4.

22 Nieuwe Realisten, The Hague, Haags

Gemeentemuseum, 24 June – 30 August 1964; Pop etc., Vienna, Museum des 20. Jahrhunderts, 19 September – 30 October 1964; Neue Realisten & Pop Art Berlin, Akademie der Kunst, 20 November 1964 – 3 January 1965; Pop Art – Nouveau Réalisme – etc., Brussels, Palais des Beaux-Arts, 5 February – 1 March 1965. Hugely important, US loans; neglected by Pop historians.

23 See the Seizième Salon de la Jeune Peinture, Paris, Musée d’Art Moderne de la Ville de Paris, January 1965, and the Bulletin de la Jeune Peinture, 19651967.

24 Une passion dans le désert, Paris, Galerie SaintGermain, January 1965 (Un roman, une exposition, Maison de Balzac, 2017, http://linkaewa.over-blog. com/2017/07/une-passion-dans-le-desert-chezbalzac.html).

25 Arroyo mentions celebrations in October 1964 of the 25th anniversary of Victory and the exhibition Spanish Art in the 25 Years of Peace involving 326 artists, in Trente ans après, 59.

26 ‘L’Espagne n’existe pas. Elle se fait…certains avec rage, avec insolence, par la parole, par la plume, par le pinceau—maniés comme un couteau, comme un marteau, comme un ciseau—ont entrepris de démolir des mythes.’ Jorge Semprún, 25 ans de paix, Paris, Galerie André Schoeller; Toiles récentes, Paris, Galerie Bernheim Jeune, 6 – 29 May 1965 (unpaginated).

27 Gérald Gassiot-Talabot, La Figuration narrative dans l’art contemporain, Paris, Galerie Creuze, 1 – 29 October 1965.

28 ‘Mieux vaut travailler sans signer que signer sans travailler,’ quoted in Gassiot-Talabot, ‘Persistent et signent,’ Opus International 49 (March 1974), 97-99.

29 Critic Alain Jouffroy credits Arroyo with the spiral idea in ‘La Grande Spirale,’ Ezio Gribaudo, ed., Mural Cuba Colectiva 1967, Salon de Mai (Turin: Edizione d’Arte Fratelli Pozzo, 1970), unpaginated; (see Wilson, The Visual World, 38-9, for the Paris showing, 1968).

30 See Gassiot-Talabot et al., Bande dessinée et figuration narrative, histoire, esthétique, production et sociologie de la bande dessinée mondiale, procédés narratifs et structure de l’image dans la peinture contemporaine, Paris, Musée des Arts Décoratifs-Palais du Louvre, 1967.

31 See the Coopérative des Malassis, Qui tue? ou l’affaire Gabrielle Russier [Who kills? or the Gabrielle Russier affair], 1970; Appartemensonge [The flat lie], 1971; and Le Grand Méchoui [The Great Méchoui—or twelve years of history], 1972; all Musée des BeauxArts de Dole.

32 See Wilson, The Visual World, 29-33.

33 See MONUMENTE, Düsseldorf, Städtische Kunsthalle, 26 June – 12 August 1973; Enrico Baj, Christian Boltanksi, Jean-Olivier Hucleux, Edward Keinholz, Michael Sandle, and the Live and Let Die and Datcha painters around Arroyo.

34 See Alfred Pacquement, ‘Films d’artistes,’ in François Mathey, ed., Douze ans d’art contemporain en France (Paris: Grand Palais, 1972), 89-93.

35 See Wilson, ed., Gilles Deleuze, Michel Foucault, Gérard Fromanger, Photogenic Painting (London: Black Dog Publishing Ltd., 1999).

36 Salle rouge pour la Vietnam, Paris, Musée d’Art Moderne de la Ville de Paris, 17 January – 23 February 1969; see Wilson, The Visual World, 101, 102, 229.

37 Edouardo Arroyo, Opere et operette, Milan, Galleria arte Borgogna, February 1973, with its photographic cover of a female star with badges. Bohème II appears as La somnambula Maria Grazia Vincenzo No. 3, 1972 (referring to Bellini’s opera, not Puccini’s La Bohème); Picabia’s Portrait de femme, 1940 is reproduced as from Arroyo’s collection in Eduardo Arroyo, 1982, 35. It was sold by Piasa, 7 May 2019, lot 16.

38 Arroyo declares he was appointed to the Venice Biennale jury in August 1974 with the 1976 Spanish exhibition in mind; see ‘Sei tu fra quelli che guardano o quelli che mettono ma mani in pasta?,’ preface to Attualità internazionali, ’72-76, Giudecca, Venice, 18 July – 10 October 1976; the selection committee also included Enrico Crispolti, Raffaele de Grada, and Pontus Hultén; typescript, Bibliothèque Kandinsky, Paris, translated into French in Eduardo Arroyo, Paris, Centre Georges Pompidou, 1982, 24-5.

39 ‘La Turquie n’es pas Egypte et Egypte n’est pas l’Egypte ancienne, mais le tiers monde commence à Kreuzberg.’ Jean-Christophe Bailly, ‘Exile,’ in Grazia Eminente – Eduardo Arroyo Kreuzberg, 1976 (Berlin: Berliner Künstlerprogramm, 1976), unpaginated.

40 Arroyo, ‘Berlin, hiver 1975-1976’; statement of October 1987, in Eduardo Arroyo: Berlin, Tanger, Marseille, ed. Germain Viatte, Marseille, Musée Cantini, 12 February – 11 April 1988 (touring to the Musée d’Art et d’Histoire, Belfort, 21 May – 7 July 1988. See also Juan Goytisolo, ‘Berlin, Tanger, Le Sentier, La Tate Gallery,’ 11-13.

41 Arroyo shared the Berlin artists’ program invitation with Chihiro Shimotani from Japan. See also En souvenir de Kreuzberg 1976, Paris, Fondation Nationale des Arts Graphiques et Plastiques, 7 – 30 April 1978.

42 See Valeriano Bozal et al., España: Vanguardia artística y realidad social, 1936-1976 (Barcelona: Editorial Gustavo Gili, 1976).

43 Francesc Mestre, ‘The Venice Biennale of 1976 as a Symptom,’ Mirador de les arts, 20 March 2019; the exhibition moved to the Miró Foundation, Barcelona, December 1976 (recreated at IVAM, Valencia, September 2018). https://www.miradorarts.com/the1976-venice-biennale-as-a-symptom/. This includes

the link to the IVAM film with curator Sergio Rubira, https://www.youtube.com/watch?v=7DfLKbk2L0w.

44 See Il pittore de Monaco, 1967; Arroyo personale, Milan, Studio Bellini, from 26 February 1968, with two versions of the work in Milan, La Bussola, 1968, both preceding Miró refait in Paris 1969 (see note 16). Munich is restored and the source, Heinrich Hoffman’s photo of Hitler, reproduced in Eduardo Arroyo, Blinder Mahler und Exil, Munich, Lehnbachaus, 26 March – 4 May 2012.

45 Churchill Painter, Brussels, Galerie Withofs, 11 December 1969 – 2 January 1970.

46 See Gilbert Lascault, De l’exil ou le suicide dans la Dvina (Paris: Éditions Karl Flinker, 1978) accompanying the exhibition Retour des exilés, 2 May – 4 June 1978. (Arroyo’s appropriation of Lubetkin’s penguin pool at London Zoo for the background of Ganivel’s suicide has been ignored by all critics). José Maria Blanco White (his English texts translated by Juan Goytisolo) came to a sad end in England, see https://uudb.org/articles/ josemariablancowhite.html.

47 See Lya de Putti in The Prince of Tempters (dir. Lothar Mendes, 1926).

48 Various Types of Reactionary Spanish Moustaches… in 30 anni dopo, Milan, Galleria d’Arte Borgogna, from 8 October 1970. This and many works are reproduced in full colour; 30 Jahre danach/Trente ans après (Paris and Frankfurt, 1971) is in black and white.

49 The first show of sweeps was at the Galerie Maeght, Zürich, 1980. See Fabienne Di Rocco, Eduardo Arroyo et le Paradis des mouches (Paris: Éditions Galilée, 2017) for the recollections of miners of Robles de Laciana, 99.

50 See a top-hatted sweep depicted in the exhibition posters for Arroyo, Paris, Galerie Karl Flinker, 1974, and Arroyo, Zürich, Galerie Maeght, 1980, in Elisa Farran, ed., La Nuit espagnole (Saint Rémy: Musée Estrine, 2014), 15.

51 Fantômas’s adventures were recounted by Pierre Souvestre and Marcel Allain: thirty-two novels appeared between 1911 and 1913. Maurice Leblanc published Arsène Lupin, gentleman-cambrioleur in 1905 (adventures to 1941); see also Arroyo’s important text, ‘Portrait d’un boxeur en smoking,’ in Eduardo Arroyo, (Paris: Centre Pompidou, 1982), 32.

52 Presentation of 19 works (eight Sweep sculptures) opening 28 March 1984, New York, Solomon R. Guggenheim Museum; some works reappear in Eduardo Arroyo Milan, Gastaldelli Arte Contemporanea, October 1984; the catalogue for Eduardo Arroyo, Villeurbaine, Hôtel de Ville, 8 March – 13 April 1985, engages most poetically with the sweeps.

53 Eduardo Arroyo, New York, Leonard Hutton Galleries, 24 March – 26 May 1983; thirty-six numbered exhibits, following Eduardo Arroyo, Paris, Centre Georges Pompidou, 9 October – 29 November 1982, reviewed by Gérard Georges Lemaire for Artforum, January 1983, 84.

54 See María Zambrano, Eduardo Arroyo: esculturas (Madrid: Galería Gamarra Garrigues, 1987)

55 See the ‘robber’s mask,’ Masque de de voleur de banque noir, at party.fr.

56 Arroyo et Balzac, Madrid, Institut Français, 2015; La Comédie humaine, Balzac par Edouardo Arroyo, Paris-Musées, Maison de Balzac, 5 February – 20 May 2020.

57 Une passion dans le désert. Un roman, une exposition, Paris, Maison de Balzac, 27 January – 1 October 2017. (The series was shown by Germain Viatte in Marseille, La Vieille Charité for the pioneering exhibition Peinture-Cinéma-Peinture, 1989).

58 Balzac lived at 14 rue Fortunée (now 22 rue Balzac) between 1847 and 18 August 1950, the day of his death (the original building has been demolished).

59 Arroyo, Dans des cimetières sans gloire: Goya, Benjamin et Byron-boxeur, trans. Di Rocco (Paris: Grasset, 2004); Di Rocco, Eduardo Arroyo et le Paradis des mouches, complements the biographical elements notably in Arroyo’s Sardines à l’huile (Paris: Plon, 1989) and Minutes d’un testament, trans. Di Rocco (Paris: Grasset, 2010).

60 Ludwig Wittgenstein, Philosophical Investigations (posthumously published in 1953) paragraph 309, quoted in Dans des cimetières sans gloire, 136.

61 Arroyo on ‘Le paradis des mouches,’ Dans des cimetières sans gloire, 134-136

62 See https://www.domaine-chezelles.com/blog/ napoleon-et-les-abeilles-une-histoire-dor/.

63 Arroyo’s trio was in inspired by André Malraux, Le Triangle noir, Laclos, Goya, Saint-Just (Paris: Gallimard, 1970); see also Malraux, Saturne, essai sur Goya (Paris: Nouvelle Revue Française, 1950), and the luxury volume Goya (Paris: Gallimard, 1978). Arroyo created ten lithographs for Malraux’s Oraisons funèbres (Paris: Éditions Michèle Trinckvel, 1985).

64 ‘Goya fait le portrait du paradis des mouches, cette Espagne inquiétante et inquiète que nous pouvons toucher encore aujourd’hui et qui toujours vit en nous. Le peintre impose sa vision de l’Espagne, et l’oblige à se refléter dans le miroir apparemment déformant, mais terriblement réaliste, parce que Goya focalise [pour employer un terme actuel]. Il y a plus de la lumière, c’est une exaspération, un projecteur, une illumination continue. Un sol y sombra déchiré, teinté de rouge et de noir, et arrosé de sang.’ Arroyo, Dans des cimetières sans gloire, 50.

Plates

Le billard: carte géographique des bases américaines en Espagne 1970 oil on canvas

633/4 × 781/2 in. / 161.9 × 199.4 cm

Sama de Langreo (Asturias)

femme du mineur Pérez Martínez

on canvas

× 513/8 in. / 162.6 × 130.5

Peintres aveugles

sandpaper collage

Parmi les peintres

collage

sandpaper collage

sandpaper collage

sandpaper collage

collage

Lucrezia Borgia

photo and gouache

Gato por liebre

pencil and mixed media on

pencil and mixed media

and mixed media

El

La vie à l'envers. Éléphant.

Hommage à Alvar Aalto 2016

oil and collage on paper

311/2 × 251/2 in. / 80 × 64.8 cm

El buque Fantasma

Biography

1937 Born in Madrid, Spain

2018 Died in Madrid, Spain

The artist lived and worked in Paris, France and Madrid, Spain.

Education

1958 School of Journalism, Madrid

1955 Instituto de Nuestra Señora de la Almudena

Solo Exhibitions

2022 Eduardo Arroyo, Marlborough Gallery, New York, New York

2021 El buque fantasma, Gamazo Warehouses, Santander, Spain Arroyo y [algunos de] sus personajes favoritos, Galería Álvaro Alcázar, Madrid, Spain

2020 Eduardo Arroyo: grabador, Bilbao Fine Arts Museum, Bilbao, Spain La Comedie humanine, Maison de Balzac, Paris, France

2019 El buque fantasma, Las Claras Cajamurcia Cultural Center, Murcia, Spain

El buque fantasma, Villanueva Pavillion, Royal Botanical Garden, Madrid, Spain Cerámicas, Tiempos Modernos, Madrid, Spain

2018 Eduardo Arroyo, Torreón de Lozoya, Museo Fundación Caja Segovia, Segovia, Spain Granada, Frederico García Lorca Center, Granada, Spain

2017 Dans le respect des traditions, Fondation Marguerite et Aimé Maeght, Saint-Paul-de-Vence, France Le retour des croisades, Bilbao Fine Arts Museum, Bilbao, Spain Capítulo I, Galería Álvaro Alcázar, Madrid, Spain Parejas, LEVY Galerie, Hamburg, Germany

Tirarse los muebles a la cabeza, Tiempos Modernos, Madrid, Spain

2016 Die Schweizer Kapitel, Kunstmuseum Thun, Thun, Switzerland

Suite Senefelder & Co., Municipal Museum of Contemporary Art, Madrid, Spain

2015 Arroyo et Balzac, Institut Français, Madrid, Spain

La oficina de San Jerónimo, Casa del Lector, Matadero, Madrid, Spain

Dibujos para soñar despierto, Galería Siboney, Santander, Spain

2014 La parole est à la peinture, Galerie Louis Carré & Cie, Paris, France

Dibujos para soñar despierto, Galería Estampa, Madrid, Spain Rastros/Rostros, Instituto Cervantes, Tokyo, Japan

2013 Retratos y retratos, Museo de Arte Abstracto Español, Cuenca, Ecuardor; traveled to Museu d’Art Espanyol Contemporani, Palma, Spain Esculturas 1973 2012, Contemporary Art Center, Málaga, Spain

Lápices de colores, Galería Álvaro Alcázar, Madrid, Spain

2012 Bazar Arroyo, Círculo de Bellas Artes de Madrid, Madrid, Spain

Eduardo Arroyo 100+, LEVY Galerie, Hamburg, Germany

El Cordero Místico, Museo Nacional del Prado, Madrid, Spain Dictionnaire impossible III, Galerie Catherine Putman, Paris, France

La lutte de Jacob et L’Ange, Galerie Louis Carré & Cie, Paris, France

2011 Eduardo Arroyo: retrospectiva, Galería de Arte Cornión, Gijón, France Eduardo Arroyo: pintar la literatura, Es Baluard Museu d’Art Modern i Contemporani, Palma, Spain

2010 Eduardo Arroyo, Galerie Louis Carré & Cie, Paris, France

2009 Territorio íntimo: esculturas, Fundación Antonino y Cinia, Cerezales del Condado, León, Spain Boxeo y literatura, Museu Valencià de la Illustració i de la Modernitat, Valencia, Spain

2008 Eduardo Arroyo: correspondances, Galerie Louis Carré & Cie, Paris, France Objetos, Galería Estampa, Madrid, Spain

2007 Sinónimos sominona, Galería Álvaro Alcázar, Madrid, Spain Socha A Objekt XII, Galéria Z, Bratislava, Slovakia

2006 Arroyo, Galería Rosalía Sender, Valencia, Spain

2005 Eduardo Arroyo: papiers 1960 2005, Frissiras Museum, Athens, Greece

2003 Eduardo Arroyo, Ludwig Museum, Budapest, Hungary

2001 Eduardo Arroyo troisième partie: lithographies, gravures, Anton Meier Galerie Palais de l’Athénée, Geneva, Switzerland Galería Rosalía Sender, Valencia, Spain Galería Ármaga, León, Spain

2000 Retratomatón, Banco Zaragozano, Sala de Exposiciones, Zaragoza, Spain; traveled to Sanz Enea, Zarauz, Spain Galería Colón XVI, Bilbao, Spain

1999 Agencia matrimonial, Matador, La Fábrica, Madrid, Spain Museo de Arte de Lima, Perú y Museo Universitario de Ciencias y Artes, México Suite Senefelder & Co, Literatuhaus, Tenth International Letter Week, Munich, Germany

1998 El exilio anterior, Diputación de Granada, Granada, Spain

Eduardo Arroyo: bilder, papierarbeiten, Grafik, Galerie Pro-Arte, Freiburg, Germany Galerie le Troisième Oeil, Bordeaux, France FIAC, Galeria Metta, Madrid, Spain

1997 Knock-out, Musée Olympique, Lausana, Switzerland

Da Napoleone a Carmen Amaya, Atelier dei Tadini Lovere, Lago d’Iseo, Italy

1996 Eduardo Arroyo: retratos, Die Galerie, Frankfurt am Main, Frankfurt, Germany

Eduardo Arroyo: Works 1973 1993, Cynthia Bourne Gallery, London, United Kingdom

1995 Lithographies pour comtes de Perrault, Galerie Maeght, Paris, France

Da Gutenberg a Madonna, Galleria San Carlo, Milan, Italy

1994 Eduardo Arroyo: obra gráfica, Galería Cromo, Alicante, Spain Eduardo Arroyo: chimeneas y deshollinadores, Sala de Exposiciones, Bilbao, Spain

1993 Sombreros para Alicia, Galería Tiempos Modernos, Madrid, Spain

Eduardo Arroyo, Carteles, Sala de Exposiciones, Huesca, Spain; traveled to Palacio de Sástago, Zaragoza, Spain

1992 Galería Gamarra y Garrigues, Madrid, Spain

El Ulises prohibido, Centro Cultural de Círculo de Lectores, Madrid, Spain Galería Trece, Ventalló, Spain

1991 Espace Fortant de France, Sète, France Galerie Thomas Levy, Hamburg, Germany

1990 Collages 1989, ARCO 90, Alexander Berggruen Gallery, New York, New York

Eduardo Arroyo: Bilder, Skulpturen, Zeichnungen, Collagen, Graphik, Huber-Nising, Frankfurt, Germany

1989 Eduardo Arroyo: obra gráfica, Instituto Valenciano de Arte Moderno, Valencia, Spain Multiples au singulier, Galerie Levy Dahan, Paris, France

1988 Musée Cantini, Marseille, France Galerie Anton Meier, Geneva, Switzerland Galerie Françoise Courtiade, Toulouse, France Galerie Michael Hasenclever, Munich, Germany

1987 Museum für Kunst und Kulturgeschichte, Dortmund, Germany Galería Gamarra y Garrigues, Madrid, Spain

1986 Galerie Orangerie-Reinz, Cologne, Germany Sala Parpalló, Diputación Provincial de Valencia, Spain

1985 Galerie La Hune, Paris, France Galerie lsy Brachot, Brussels, Belgium

1984 Solomon R. Guggenheim Museum, New York, New York

Galería Pelaires, Palma de Mallorca, Spain

1983 Leonard Hutton Galleries, New York, New York Galería Alencon, Madrid, Spain

1982 Exposición retrospectiva: Eduardo Arroyo, 1962 1982, 20 años de pintura, Salas Ruiz Picasso, Madrid, Spain

Centre Georges Pompidou, Musée National d’Art Moderne, Paris, France Eva Cohon Gallery, Highland Park, Chicago, Illinois

1981 Galleria d’Arte Lanza, Intra, Lombardia, Italy

1980 Galerie Michael Hasenclever, Munich, Germany

1979 Art Package Gallery, Highland Park, Chicago, Illinois

1978 En souvenir de Kreuzberg, Fondation Nationale des Arts Graphiques et Plastiques, Paris, France

1977 Galería Punto, Valencia, Spain Galería Val i 30, Valencia, Spain

1976 DAAD-Akademie der Kunste, Berlin, Germany

1975 Galerie Fred Lanzenberg, Brussels, Belgium

1974 Studio P.L., Milan, Italy

1973 Galerie 9, Paris, France

1972 Gallerie d’Eendt, Amsterdam, The Netherlands Gastaldelli Arte Contemporanea, Milan, Italy

1971 Galleria People, Turín, Italy

Museum voor Hedendaagse Kunst, Utrecht, The Netherlands

1970 Galerie Withofs, Brussels, Belgium

1969 Galerie André Weil, Paris, France

1968 Studio Bellini, Milan, Italy

Studio Marconi, Milan, Italy

1967 Galleria Il Fante di Spade, Rome, Italy

Sala Mendoza, Caracas, Venezuela

1965 Galerie Bernheim Jeune, Paris, France

1964 Gallerie 20, Amsterdam, The Netherlands

1963 Galería Biosca, Madrid, Spain

1962 Crane Kalman Gallery, London, United Kingdom

1961 Galerie Claude Lévin, Paris, France

Group Exhibitions

2022 25 años de Matador, Sala Fernán Gómez Centro Cultural, Madrid, Spain

2021 Vasos comunicantes: colección 1881 2021, Museo Reina Sofía, Madrid, Spain

Palimpsesto creativo, Monasterio de Santa María de Sandoval, León, Spain

Vier Freunde: Valerio Adami, Camilla Adamai, Bruno Bruni und Eduardo Arroyo, Fabrik der Kunste, Hamburg, Spain

2020 Arroyo, Pijuán y Azcárate, Tiempos Modernos, Madrid, Spain

2018 Persona grata, Musée d’art contemporain du Val de Marne MAC, Vitry-sur-Seine, France

Persona grata, Musée de l’histoire de l’immigration, Paris, France

Summer Encounter, Galerie Miro, Prague, Czech Republic

Wohin das Auge reicht (As Far as the Eye Can See),

Museum Würth, Künzelsau, Germany

Donación de Plácido Arango Arias al Museo de Bellas Artes de Asturias, Museo de Bellas Artes de Asturias, Oviedo, Spain

Printer’s Proofs: Prints from Frank Bordas’ Workshop, Bibliothèque nationale de France, site Francois Mitterand, Paris, France

2017 SoixanteDixSept, Hôtel du Pavot…, FRAC Île-de-France, Château Rentilly, Bussy Saint Georges, France

Lithographien von Karl Imhof und Grafiken aus seinem Verlag und Druckgrafikatelier, Galerie 13, Freising, Germany

Mystification of the Everyday, Delmes & Zander, Cologne, Cologne, Germany

2016 Perdidos en la ciudad / La vida urbana en las colecciones del IVAM, Institut Valencià d’Art Modern, Valencia, Spain 100 Koepfe, Die Galerie, Frankfurt, Germany

2015 Evolución: Colección Aena de Arte Contemporáneo, Centro del Carmen, Valencia, Spain

The World is Made of Stories, Astrup Fearnley Museet für Moderne Kunst, Oslo, Norway Ma p’tite Folie contemporaine II, Musée de la folie Marco, Barr, France

Figuration Narrative: Paris 1960 1975, Art Collection S.à rl, Luxembourg Art In Music: Werke aus der ACT, Art Collection Weserburg, Museum MMK für Moderne Kunst, Bremen, Germany

Works from the Astrup Fearnley Collection, Astrup Fearnley Museet für Moderne Kunst, Oslo, Norway Et si jamais..., Centre d’Art le LAIT, Albi, France

2014 La piel translúcida: obras de la Colección Iberdrola, Patio Herreriano, Museo de Arte Contemporáneo Español, Valladolid, Spain De la pierre à l’écran, Studio Franck Bordas, Paris, Centre de la Gravure et de l’Image imprimée, La Louvière, Belgium Fondation Maeght: De Giacometti à Tàpies, 50 ans de collection Domaine de Kerguéhennec, Centre d’Art Contemporain, Bignan, France

It’s Pop Art, Galerie Terminus, Munich, Germany Traço Descontinuo: Coleção Norlinda e José Lima

: Uma seleção (Parte II), Oliva Creative Factory, São João da Madeira, Portugal

It’s Pop Art?, LEVY Galerie, Hamburg, Germany Mano a Mano / Hand in Hand, LEVY Galerie, Hamburg, Germany

Word and Image, Vasarely Múzeum, Budapest, Hungary

Dibujos Inéditos de la Colección del IVAM, Institut Valencià d’Art Modern, Valencia, Spain

Grand Format, Galerie Louis Carré & Cie, Paris, France

Eduardo Arroyo & Bruno Bruni: mano a mano / Hand in Hand, Hannover Gallery, Hannover, Germany

2013 Tesoro público: Colección Artium Herri altxorra, Artium bilduma, Artium, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain

2006 Peintures: Painting, Martin-Gropius-Bau, Berlin, Germany Salon de Mai, LEVY, Hamburg, Germany Salvador Dalí and a Century of Art from Spain: Picasso to Plensa, Salvador Dalí Museum, St. Petersburg, Florida

2005 Anthropography III, Frissiras Museum, Athens, Greece

Las tres dimensiones de El Quijote: El Quijote y el arte contemporáneo español, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain Réouverture du LAAC, Lieu d’Art et Action Contemporaine de Dunkerque, Dunkirk, France

2004 Künstler der Galerie, Michael Hasenclever, Munich, Germany

Rumbos: La colección III, Norabideak, Bilduma III, Artium, Centro-Museo Vasco de Arte Contemporáneo, Vitoria-Gasteiz, Spain SocióPolis, Projekt für eine Stadt der Zukunft, Architekturzentrum Wien Az W, Vienna, Austria

2003 Fuochi, Grossetti Arte Contemporanea, Milan, Italy The Painting Never Dries..., Astrup Fearnley Museet für Moderne Kunst, Oslo, Norway

2002 Traslaciones España-México: pintura y escultura, 1977 2002, Círculo de Bellas Artes, Madrid, Spain

Beziehungsfragmente, Galerie Vayhinger, Radolfzell, Germany

Objekte der Begierde, LEVY Galerie, Hamburg, Germany

Unit C: Travelling through Painting, Frissiras Museum, Athens, Greece

Ils sont venus de si loin, Galerie Delta, Rotterdam, The Netherlands

Suite Europa 2002, Amos Andersonin taidemuseo, Helsinki, Finland

La pasión por el libro: una aventura editorial, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain Otras Meninas, Fundación Telefónica, Madrid, Spain

2001 De quelques dessins contemporains, Fondation d’Art Contemporain Daniel et Florence Guerlain, Les Mesnuls, France 10 Jahre Kunstverein Bad Salzdetfurth, Kunstverein Bad Salzdetfurth e.V., Bodenburg, Germany

2000 Secretos del desnudo, Sala de la Fundación Caja Vital Kutxa, Vitoria-Gasteiz, Spain Calderón en escena: siglo XX, Sala de exposiciones del Círculo de Bellas Artes, Madrid, Spain

1999 Pop Impressions Europe/USA: Prints and Multiples from the Museum of Modern Art, The Museum of Modern Art, New York, New York Europalia Nr. 1 “España”, Galerie Delta, Rotterdam, The Netherlands Mit unseren Künstlern in das nächste Jahrtausend, Galerie Pro Arte, Freiburg im Breisgau, Germany

1998 El objeto del arte, Museu d’Art Espanyol Contemporani (Fundación Juan March), Palma de Mallorca; Museo de Arte Abstracto Español, Cuenca, Ecaudor Spain is Different: Post-Pop and the New Image in Spain, Sainsbury Centre for Visual Arts, Norwich, Inglaterra y Museo de la Ciudad, Valencia, Spain

1997 De Picasso a Barceló: el arte contemporáneo a través de la obra gráfica, Caja España; traveled to Valladolid, León, Palencia, Zamora, Salamanca, Spain

Da Napoleone a Carmen Amaya, Atelier del Tadini, Lovere, Lake Iseo, Italy

1996 Face à l’Histoire: l’artiste moderne devant l’évènement historique, 1933 1996, Centre Georges Pompidou, Musée National d’Art Moderne, Paris, France José Miguel Arroyo “Joselito” por Eduardo Arroyo, Florian Bolk, Luis Moro, Isabel Muñoz, Galería Utopía Parkway, Madrid, Spain

1995 Le cirque, Athénée-Théâtre Louis Jouvet, Paris, Espace Mira Phalaina, Montreuil, France Homenaje al tango, Galería Novart, Madrid, Spain

1994 El mundo mágico de Mickey Mouse, Centro Cultural Conde Duque, Madrid, Spain Grazia Eminente-Eduardo Arroyo, Galerie M20 y Galerie Levy, Hamburg, Germany

1993 Eduardo Arroyo et Bruno Bruni im Torhaus und im Rathaus Elmshorn, Elmshorn, Germany Ver a Miró, la irradiación de Miró en el arte español, Sala de exposiciones de la Fundación “la Caixa”, Madrid, Spain

1992 De la Nueva Figuración a la Figuración Libre, Institut Français de Bilbao, Museo de Bellas Artes de Bilbao, Bilbao, Spain Beckmann-Picabia-Arroyo, Galerie Levy, Hamburg, Germany Arthur Cravan: poète et boxeur, Galerie 1900 2000, Paris, France

1991 The Art of Spanish Posters, Tobu Cultural Event Hall, Otani Memorial Art Museum, Nishinomiya, Japan

El Museo del Prado visto por doce artistas españoles contemporáneos, Museo Nacional del Prado, Madrid, Spain

1990 La Figuration Narrative: Fragments 2, Galerie Raymond Dreyfus, Paris, France

Au rendez-vous des amis, Galerie Enrico Navarra, Paris, France

1989 1789 1989: le bicentenaire de la Révolution française vu par 17 artistes, Institut Français,

Malmö, Sweden

The Museum of Modern Art Takanawa, Karuizawa, Japan

1988 El siglo de Picasso, Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain

Le peintre et l’affiche, De Lautrec à Warhol, Fondation Maeght, Saint-Paul-de-Vence, Spain

1987 Wagons-Lits, Musée des Arts Décoratifs, Paris, France Estruendos: aspectos de la figuración en Francia, Museo Rufino Tamayo, Mexico

1986 Dobles figuras (Antonio Saura, Eduardo Arroyo, Miquel Barceló, José María Sicilia), Museum of Modern Art, Oxford, United Kingdom Nouvelle génération d’image: 6 peintres sur ordinateur, CNAP, Paris, France

1985 Dinge des Menschen, Städtische Kunsthalle Recklinghausen, Germany Espanjan taide tänään / La presencia de la realidad en el arte español contemporáneo, Porin taidemuseo, Pori, Finland; traveled to Alvar Aaltomuseo, Jyväskylä, Finland Sinebrychoffin taidemuseo, Helsinki, Finland

1984 Madrid-París-Madrid, Centro Cultural de la Villa, Madrid, Spain

Arroyo, Rougemont, Thalman, Galerie Jean-Marie Cupillard, Saint-Tropez, France

1983 Les revues d’art aujourd’hui en Europe, Musée de la Vieille Charité, Marseilles, France Bonjour Monsieur Manet, Musée National d’Art Moderne, Centre Georges Pompidou, Paris, France

1982 50 affiches pour le théâtre, Théâtre National de Chaillot, Paris, France 1816 1982, Cent Trente Artistes Lithographes, Fondation Nationale des Arts Plastiques, Paris, France

1981 Les quinze affiches officielles de la Coupe du Monde de Football, Galerie Maeght, París, France; traveled to Galerie Maeght, Zürich, Switzerland

1980 Adami, Arroyo, Mondito, Museo de la Cerámica, Albissola Marina, Italy

La famille des portraits, Musée des Arts Décoratifs, Paris, France

1979 Natures mortes ou le silence de la peinture, Galerie Jean-Pierre Mouton, Paris, France

Les uns par les autres, Musée des Beaux-Arts, Lille, France

1978 Images détourées, images détournées, exposición itinerante del Centre Georges Pompidou, Paris, France

Biennale de Paris ’59-’73, The Seibu Museum of Art, Tokyo, Japan

1977 Avantguarda artística i realitat social (1936-1976), Fundació Joan Miró, Barcelona, Spain Objets et sculptures insolites, Centre Georges Pompidou, Paris; traveled to Tours, Brest, Amiens, Lyon, France

1976 Boîtes, L’ARC, Musée d’Art Moderne de la Ville de Paris, Paris, France Réalités?, Galerie Karl Flinker, Paris, France

1975 Solidarité avec le peuple chilien, Palais des BeauxArts, Brussels, Belgium Faust-Salpêtrière (con Gilles Aillaud), Galerie Rhinocéros, Paris, France European Paitings in the Seventies, Los Angeles County Museum of Art, Los Angeles, California

1974 L’Arte contro il fascismo di ieri e di oggi, Palazzo della Loggia, Brescia, Italy

1973 Adami, Arroyo, Recalcati, Tadini, Pullmann dell’Arte, Commune di Milano, Milan, Italy

1972 Immagini per la città, Palazzo Reale, Genoa, Italy

1971 Peintures et objets, Musée Galliera, Paris, France

1970 Pop Art, Nieuve Figuratie, Nouveau Réalisme, XXIII Festival Belga de Verano, Knokke-le-Zoute, Belgium

1969 Police et culture, MAM, Paris, France

1968 Manifestation de soutien au peuple vietnamien, l’ARC, Musée d’Art Moderne, Paris, France

1967 Gli amici, Studio Bellin, Milan, Italy Portraits, Galerie Claude Bernard, Paris, France Bande dessinée et Figuration Narrative, Musée des Arts Décoratifs, Paris, France

1966 Aillaud, Arroyo e Recalcati, Il Fante di Spade, Rome, Italy 65 Tableaux du Salon de Mai, Belgrade, Serbia

1965 Une passion dans le désert (con Gilles Aillaud y Antonio Recalcati), Galerie Saint Germain, Paris, France

La Figuration Narrative dans l’art contemporain: Vivre et laisser mourir ou la fin tragique de Marcel Duchamp (con Gilles Aillaud y Antonio Recalcati), Galerie Creuze, Paris, France

1964 Figuratie en defiguratie, Gemeentemuseum La Haya, Ghent, Belgium Abattoir 3, Galeria Relevo, Río de Janeiro, Brazil

1963 La grande toile, Galerie Claude Lévin, Paris, France Grands et jeunes d’aujourd’hui, Musée d’Art Moderne de la Ville de Paris, Paris, France

1962 8 Pariser Maler, Deutsch-Französische Gesellschaft, Baden-Baden, Germany

1961 Grands et jeunes d’aujourd’hui, Musée d’Art Moderne, Paris, France

1960 XI Salon de la Jeune Peinture, Musée d’Art Moderne, Paris, France

Awards and Recognition

2018 Ordre des Arts and Lettres, French Ministry of Culture, France

2005 Aragon Goya Prize for Engraving

2000 Medalla de Oro al mérito en las Bellas Artes, Spain

1999 Madrid Region Culture Award, Madrid, Spain

1993 Premio Nacional Tomás Prieto

1983 Great National Prize for Painting, Spain Chevalier des Arts et des Lettres, France

1982 National Award for Plastic Arts, Spain

Set Design

2008 Boris Godounov, opera by Modest Moussorgsky, directed by Vladimir Fedoseyev, staging by Klaus Michael Grüber, set by Eduardo Arroyo, Opernhaus, Zürich, Switzerland

Las mil noches y una noche, text by Mario Vargas Llosa, staging by Joan Ollé, set by Eduardo Arroyo, Fundación Tres Cultura, Seville, Spain

2007 Boris Godounov, opera by Modest Moussorgsky, directed by Hans Graf, staging by Klaus Michael Grüber, set by Eduardo Arroyo, costumes by Rudy Sabounghi, L'Opéra national du Rhin, Petits Chanteurs of Strasbourg, Orchestre philharmonique de Strasbourg and Filature, Mulhouse, France

Boris Godounov, opera by Modest Moussorgsky, directed by Jesús López Cobos, staging by Klaus Michael Grüber, set by Eduardo Arroyo (with the collaboration of Bernard Michel), titular orchestra of the Teatro Real, choir and symphony orchestra of Madrid, Teatro Real, Madrid, Spain

2006 Boris Godounov, opera by Modest Moussorgsky, directed by Kasushi Ono, staging by Klaus Michael Grüber, set by Eduardo Arroyo (with the collaboration of Bernard Michel), Orchestra of the Théâtre Royal De La Monnaie, Brussels, Belgium

Doktor Faust, opera by Ferruccio Busoni, directed by Philipp Jamach, staging by Klaus Michel Grüber, set by Eduardo Arroyo, Opernhaus, Zürich, Switzerland

2005 From the House of the Dead (Aus einem Totenhaus), opera by Leoš Janáček, directed by Marc Albrecht, staging by Klaus Michael Grüber, set by Eduardo Arroyo, Orchestre de l'Opéra

national de Paris, Opéra-Bastille, Paris, France/ Royal Theater, Madrid, Spain

2002 Don Giovanni, opera by W. A. Mozart, directed by Zender, staging by Klaus Michaël Grüber

2000 Aïda, opera by Giuseppe Verdi, directed by Riccardo Chailly, staging by Klaus Michaël Grüber Tristan und Isolde, opera by Richard Wagner, directed by Lorin Maazel, staging by Klaus Michaël Grüber

1999 Tristan und Isolde, opera by Richard Wagner, directed by Claudio Abado, staging by Klaus Michael Grüber

1997 Zuckersüss & Leichtenbitter, work by Albert Ostermaier, staging by Udo Samel

1996 Otello, opera by Giuseppe Verdi, staging by Klaus Michael Grüber

1995 Mère blafarde, tendre soeur, work by Jorge Semprún, staging by Klaus Michael Grüber

1994 Splendid's, play by Jean Genet, staging by Klaus Michael Grüber

1992 De la maison des morts, opera by Janacek, directed by Claudio Abado, staging by Klaus Michael Grüber

1990 Edmond, by David Mamet, directed by María Ruiz

1989 La mort de Danton, play by Georges Büchner, staging by Klaus Michael Grüber

1987 Bantam, work by Eduardo Arroyo, staging by Guido Huonder

1986 Bantam, work by Eduardo Arroyo, staging by Klaus Michael Grüber

La Cenerentola, opera by Rossini, staging by Klaus Michael Grüber

1984 Nostalgia, work by Franz Jung, staging by Klaus Michael Grüber

1981 Life Is a Dream, work by Calderón de la Barca, staging by José Luis Gómez

1977 The Architect and the Emperor of Assyria, by Fernando Arrabal, staging by Klaus Michael Grüber

1976 Die Walküre, opera by Richard Wagner, staging by Klaus Michael Grüber

1975 Faust-Salpêtrière, based on Goethe's Faust, staging by Klaus Michael Grüber

1974 Vermeil comme le sang, staging by Claude Régy Antiken Projekt, Übungen für Schauspiele “Die Bakchen”, by Euripides, staging by Klaus Michael Grüber

1973 Im dikicht der Stadte, play by Bertolt Brecht, staging by Klaus Michael Grüber.

1972 Off Limits, play by Arthur Adamov, staging by Klaus Michael Grüber

1971 Wozzeck, opera by Alban Berg, staging by Klaus Michael Grüber

1969 Off Limits, play by Arthur Adamov, staging by Klaus Michael Grüber Books and Illustrated Books

2022 Joyce, James. Ulysses: An Illustrated Edition. New York: Other Press, 2022.

2019 Dix bibelots africains. Paris: Galilée, 2019.

2018 Al pie del cañón: una guía del Museo del Prado. Granada: Ediciones Miguel Sánchez, 2018.

2017 Panama Al Brown: una vida de boxeador. Madrid: Fórcola ediciones, 2017. Eduardo Arroyo y el paraíso de las moscas Madrid: La Fábrica, 2017.

Deux balles de tennis. Paris: Flammarion, 2017. Di Rocco, Fabienne. Eduardo Arroyo et le paradis des mooches. Paris: Galilée, 2017.

2016 Bambalinas. Barcelona: Galaxia Gutenberg, 2016.

2015 La oficina de San Jerónimo. Madrid: Editorial Turner, 2015.

2012 24 horas con Eduardo Arroyo: exposición individual. Madrid: Círculo de Bellas Artes, La Fábrica, 2012.

2010 Minutes d’un testament. Paris: Grasset, 2010.

2009 Minuta de un testament. Barcelona: Galaxia Gutenberg/Círculo de Lectores, Barcelona, 2009. Los bigotes de la Gioconda. Madrid: Museo de Bellas Artes de Bilbao y Museo de Arte Reina Sofía, 2009.

2006 Paroles Dans l’Atelier: Jean-Jacques Lafaye. Paris: editorial A.L.M.A., 2006.

2005 El Trío Cavaleras, Goya, Benjamin, Byron Boxeador. Madrid: Círculo de Lectores, 2005.

2004 Un día sí y otro también. Madrid: Editorial Turner, 2004.

Dans des cimetières sans gloire, Goya: Benjamin et Byron-boxeur. Paris: Grasset & Fasquelle, 2004.

1998 Orgullo y pasión: Eduardo Arroyo en diálogo con Rosa Pereda. Madrid, Trama Editorial, 1998. Diccionario de ideas recibidas del pintor Eduardo Arroyo. Barcelona: F. Calvo Serraller, Galaxia Gutenberg/Círculo de Lectores, Barcelona, 1998.

1997 Knock-Out, Bantam e altri scritti sulla nobile arte. Siena: Centro Universitario Sportivo Senese, 1997.

1995 Panama Al Brown, il ragno del ring. Genova: Le Mani, Microart’s Edizioni, 1995.

1991 Sardinen in Öl. Frankfurt: Fischer, 1991.

1990 Bantam: El Público. Madrid: Centro de Documentación Teatral, 1990.

1989 Sardinas en aceite. Madrid: Omnibus Mondadori, 1989.

Sardines à l’huile. Paris: Plon, 1989.

1988 Alianza Editorial. Barcelona: Círculo de Lectores, 1988.

1984 Panama, das Leben des Boxers Al Brown Düsseldorf: Claassen Verlag, 1984.

1982 Panama Al Brown: 1902-1951. Paris: Éditions Grasset, 1998.

1974 Trente-cinq ans après. Paris: UGE Editions, 1974.

Museums and Public Collections

Alte Pinakothek, Munich, Germany

Barcelona Museum of Contemporary Art, Barcelona, Spain

Bibliothèque nationale de France, Paris, France

Bilbao Fine Arts Museum, Bilbao, Spain Cáceres Museum, Cáceres, Spain

Caixa Galicia Foundation, Vigo, Spain Canal de Isabel II, Madrid, Spain

Carré d'Art-Musée d’art contemporain, Nîmes, France Centraal Museum, Utrecht, The Netherlands Centre national d'art et de culture Georges-Pompidou, Paris, France

Colección de Arte Contemporáneo, Madrid, Spain Consejo Superior de Deportes, Madrid, Spain Cosmorex, Zürich, Switzerland

Diputación de Granada, Granada, Spain

Direction des Musées de France, Paris, France

Fondation Maeght, Saint-Paul de Vence, France

Fondation Veranneman, Brussels, Belgium

Fonds National d'Art Contemporain, Paris, France

Fonds Régional d' Art Contemporain Alsace, Sélestat, France

FRAC Provence Alpes Côte d'Azur, Côte d' Azur, France

Fundació Suñol, Barcelona, Spain

Galleria Comunale d’Arte, Cagliari, Italy

Henie Onstad Kunstsenter, Høvikodden, Norway

Hirshhorn Museum and Sculpture Garden, Washington, District of Columbia

Institut Tessin, Paris, France

Institut Valencià d'Art Modern, Valencia, Spain

La Caixa, Barcelona, Spain

Lille Métropole Musée d’Art Moderne, Lille, France

Lille Métropole Museum of Modern, Contemporary, and Outsider Art, Villeneuve d'Ascq, France Moderna Museet, Stockholm, Sweden

Musée Cantini, Marseille, France

Musée Cantonal des Beaux-Arts, Lausanne, Switzerland

Musée d'art et d'histoire, Cholet, France

Musée d'Art Moderne de Paris, Paris, France Musée de Beaux-Arts, Belfort, France Musée de Beaux-Arts, Chartres, France Musée de Montrouge, France Museo de la Solidaridad Salvador, Santiago, Chile Museo Nacional Centro de Arte Reina Sofía, Madrid, Spain Museo Patio Herreriano de Valladolid, Valladolid, Spain Museo Progressivo d'Arte Contemporanea, Livorno, Italy Museu Coleção Berardo, Lisbon, Portugal

Museu d'Art Contemporani de Barcelona, Barcelona, Spain Museum of Drawers, Zürich, Switzerland Museum of Fine Arts of Álava, Vitoria-Gasteiz, Spain Museum of History of Madrid, Madrid, Spain Museum of Modern Art, New York, New York Museum of the Holy Cross Abbey, Les Sables-d'Olonne, France Museum voor Hedendaagse Kunst, Utrecht, The Netherlands Museum Würth, Künzelsau, Germany Nationalgalerie, Berlin, Germany Olympic Museum, Lausanne, Switzerland Parco delle Driadi di Castell' Arquato, Piacenza, Italy Serralves Museum of Contemporary Art, Porto, Portugal Solomon R. Guggenheim Museum, New York, New York Staatsgalerie Moderner Kunst, Munich, Germany Uffizi Gallery, Florence, Italy

Marlborough New York

Douglas Kent Walla

CEO

dkwalla@marlboroughgallery.com

Sebastian Sarmiento Director sarmiento@marlboroughgallery.com

Nicole Sisti

Assistant to Sebastian Sarmiento sisti@marlboroughgallery.com

Diana Burroughs Director burroughs@marlboroughgallery.com

Alexa Burzinski Director burzinski@marlboroughgallery.com

Bianca Clark

Head of Graphics clark@marlboroughgallery.com

Parks Busby Graphics Assistant busby@marlboroughgallery.com

Meghan Boyle Kirtley Administrator boyle@marlboroughgallery.com

Greg O’Connor Comptroller greg@marlboroughgallery.com

DiBomba Jean Marie Kazadi Bookkeeper kazadi@marlboroughgallery.com

Amy Caulfield

Head Registrar caulfield@marlboroughgallery.com

Sarah Gichan

Assistant Registrar gichan@marlboroughgallery.com

Mariah Tarvainen

Graphic Designer tarvainen@marlboroughgallery.com

Lukas Hall Archivist hall@marlboroughgallery.com

Marissa Moxley Archivist moxley@marlboroughgallery.com

Rita Peters Gallery Assistant peters@marlboroughgallery.com

John Willis

Warehouse Manager willis@marlboroughgallery.com

Anthony Nici

Master Crater nici@marlboroughgallery.com

Peter Park Exhibition Coordinator park@marlboroughgallery.com

Jeff Serino

Preparator serino@marlboroughgallery.com

Brian Burke Preparator burke@marlboroughgallery.com

Matt Castillo

Preparator castillo@marlboroughgallery.com

Acknowledgments

Marlborough is pleased to present the first exhibition dedicated to Eduardo Arroyo in the United States since 1983. Through the efforts of Anne Barthe and her introduction to Isabel Azcárate and Jean-Philippe (Pimpi) Arroyo, a full selection of works was able to be realized for presentation here. The logistics were challenging and would not have been possible without the engagement and full support of the following individuals associated with the family and Galería Marlborough:

Jean-Philippe (Pimpi) Arroyo, Isabel Azcárate, Fabienne Di Rocco, Ana Aquilina de Azcárate, Goura Corma de Azcárate

In Madrid: Anne Barthe, Claudia Manzano-Monís, Cynthia González, Jara Herranz, Fermín Rosado, Juan García, Nieves Rubiño, Gabriela Hernández Brito

And in New York: Sebastian Sarmiento, Meghan Boyle, Marissa Moxley, Lukas Hall, Nicole Sisti, Amy Caulfield, Sarah Gichan

The publication was skillfully designed and envisioned by Mariah Tarvainen.

And special thanks to Sarah Wilson for her inspiring text, encouragement and support.

We sincerely help that our collective efforts will be a vital and useful resource to better understand the legacy of Eduardo Arroyo.

With thanks to Lucio Fanti, Lukas Hall, Marissa Moxley, Adrien Sina, Mariah Tarvainen, Douglas Walla, and the staff of the Bibliothèque Kandinsky, Paris.

– Sarah Wilson

Published on the occasion of the exhibition: Eduardo Arroyo

Marlborough Gallery, New York September 17 October 29, 2022

Design and Layout: Mariah Tarvainen Editors: Marissa Moxley and Lukas Hall

Printing and Binding: Permanent Press

© Sarah Wilson, Eduardo Arroyo: Painter, Pugilist, Provacateur

© 2022 Marlborough Gallery, New York

All rights reserved. No part of this book may be reproduced in any form or by any means, electronic or mechanical, including information storage and retrieval systems— except by a reviewer who may quote brief passages in a review to be printed in a magazine or newspaper—without permission in writing from the publisher.

All works © The Estate of Eduardo Arroyo / 2022 Artists Rights Society (ARS), New York / ADAGP, Paris

– Douglas Kent Walla

First Edition ISBN: 978-0-89797-378-6