Tue. Apr 23rd, 2019

Giacometti strolls elegantly through the rooms of his teachers in the Prado

Giacometti pasea con elegancia por las salas de sus maestros en el Prado



Alberto Giacometti he did not come to visit The meadow despite their devotion to the great masters who sign the key works of the museum. But now, half a century after the death of the Swiss artist (in 1966) and in full bicentennial of the art gallery, its managers have organized a "posthumous walk" for the most noble rooms of the institution by placing 20 of his works - 18 sculptures and two oil paintings - before the most outstanding paintings of some of its referents: Velázquez, El Greco, Tintoretto or Tiziano. The raid, call it dialogue or tribute, works. The stylized bronze figures of the sculptor stand elegantly, without seeming intrusive, between Prado classics.

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Giacometti could see a part of the paintings before which his works are now found when the funds of the Madrid museum were transferred to Geneva during the Civil War and in 1939 the exhibition Chefs-d'oeuvre du Musée du Prado was organized there. In it were represented some of his favorite painters, such as those already mentioned plus Rafael or Durero.


Giacometti could see a part of the paintings before which his works are now found when the funds of the Madrid museum were moved to Geneva during the Civil War

In the sample that can now be seen in the Prado, from today until July 7, the star is perhaps the group of four sculptures called La Plaza and placed in the center of Room 12 of the museum, considered the sancta sanctórum of the institution because there are Las Meninas and other important pieces by Velázquez. Walking Man, Tall Woman III, Big Head and Tall Woman IV are the explicit titles of the large but light compositions of Giacometti that seem to observe and be observed by the characters of the Sevillian painter, whom the sculptor "copied again and again" to learn and be inspired, explained the curator of the exhibition, Carmen Giménez. There is between the two artists "a secret communication," added the specialist.

The harmony between the "visitor of transit in the Prado" and his ancestors in this museum is complete in the central space of El Greco. There, before his paintings of The Crucifixion, The Resurrection of Christ, Pentecost and Baptism of Christ, the organizers have installed the lanky and beautiful Standing Woman of Giacometti. His confrontation with the vertical and stretched figures of the Greek is magnetic.









The lace is also spectacular Leg, by Giacometti, among the oils from the Hercules de Zurbarán series, where what is most striking are precisely the lower extremities of the leading models.

Giacometti's beautiful piece Le Chariot, where another slender woman stands on an old war chariot, is well accompanied by Charles V in the Battle of Mühlberg by Titian. And seven Women of Venice carved by the Swiss sculptor congenial with the columns and the wide spaces of the Lavatory of Tintoretto, where these sizes will remain these three months of the exhibition.

The director of the Prado, Miguel Falomir, said yesterday that "great art does not need explanation". What do some of the best pieces of Giacometti paint in some of the richest rooms in the Prado? The allusions to the "posthumous walk" that the Swiss deserved or to the aesthetic harmony between his works and that of the masters are more or less plausible. But the sense of montage is only fully perceived when you see it. Without more explanations.







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