The oil The bleeding roses (1930) is considered one of the most important works of the surrealist period of the artist of Cadaqués. Pain and guilt are represented in the body of a naked woman whose face is barely visible. Her pubis is a mane of lion and the roses loaded with blood are inspired by Gala's strong gynecological ailments. This famous piece is the axis around which the Thyssen Museum in Madrid has mounted the exhibition Dalí and surrealism in the Abanca art collection which can be visited for free and until January 27 on the interior terrace of the museum. There are 13 works among which are the signatures of Óscar Domínguez, Joan Miró, Maruja Mallo, Eugenio Granell, Max Ernst or Giorgio de Chirico. This is the second exposure that the banking entity emerged from the segregation of Novacaixagalicia carried out in Thyssen.
Little known in the rest of Spain, the Abanca collection began in the mid-nineties with the foundational idea of preserving, promoting and disseminating the production of Galician artists. The project grew with the inclusion of great Spanish and international names. Juan Carlos Escotet, president of Abanca, explains that they currently have 1,343 works of art belonging to 239 artists, including Braque, Chagall, Juan Gris, Léger, Kandinsky, Gutiérrez Solana and Tàpies.
On Tuesday, during the presentation of the exhibition, Guillermo Solana, artistic director of Thyssen, spoke of the importance of the Surrealist movement and the relationship that Bretón and Dalí maintained until the expulsion of the Catalan from the group. Solana says that on this small set of works you can follow the development of the artistic movement and its surroundings starting with the precursor, Giorgio de Chirico, to continue with central figures such as Max Ernst or Joan Miró and continue with a second generation represented by Óscar Domínguez, Wilfredo Lam, Roberto Matta and Eugenio Granell. Among the work done by Galician creators, the paintings by Granell, Maruja Mallo and Urbano Lugrís stand out. The latter is, according to Solana, difficult to classify, but does not find reasons why not add to the surrealist payroll.
Juan Ángel López Manzanares, curator of the collection and curator of the exhibition, has ordered the pieces with the intention of highlighting the double creative facet of surrealism understood as "automatic writing" and "the story of dreams". "It's a duality in which not only was the primacy of writing in front of painting at stake and, with it, the existence or not of a Surrealist plastic, but also a taking of a party by a type of instinctive and random creation, or for another of more premeditated and reasoned character, elaborated from the memory ", explains López Manzanares.