The poetic keys of the illustrator Rubén Darío and Paul Verlaine | Culture

The classification of talent is not easy when the person who had it exceeded limits, registers and disciplines. The creativity and poetry of Enrique Estévez Ochoa (1891-1978), the master of musical plastic arts, of the eternal feminine, and of conceptual modernism, resuscitated in the exhibition Musical abstraction and avant-garde, open in Alma club.

The artistic and intellectual circles that admire his legacy collaborate in spreading the genius of one of the most outstanding illustrators of the 20th century, friend of Picasso, García Lorca, Alberti, Rubén Darío or Andrés Segovia, who reappears in the Madrid show demonstrating the compatibility between painting, sound and thought.

The Granada poet defined the compatriot of El Puerto de Santa María from lyricism: "Music of songs with the rhythm of clear cadmium. Yellow, lemon, pale violet. Painter? Musician? Poet? CREATOR. "The last portrait of Lorca, an oil on canvas, was painted in 1933 by Ochoa, who thus signs his works.The world of the gypsy ballads was in his brushes, allegory and homage.

The lawyer José Estévez, grandson of the artist and president of the foundation that bears his name, proudly consolidates the memory and the merits of the Spanish language that between 1917 and 1920 illustrated the 22 volumes of the complete works of the Nicaraguan Rubén Darío. Shortly after, he did the same with the French symbolist Paul Verlaine.

The ideas gathered in the different halls of the palace house of the Salamanca district testify to sections of its innovative itinerary: the musical experience, the abstraction, the distancing from the tendencies of figurative painting. "It is difficult to understand Ochoa's work without understanding its poetic key. His inner life is reflected in his canvases with an aesthetic full of symbolism, "Estevez emphasizes.

'El Pájaro de Fuego', by Enrique Estévez Ochoa.
'El Pájaro de Fuego', by Enrique Estévez Ochoa.

Free and unattached, there was no dealer, nor gallery that imposed a style. The cosmopolitanism of Ochoa, his profile as a forerunner of avant-gardes and standard-bearer art noveau It was highlighted during the opening of the exhibition. Picture Birds of Fire (1944), suggested by one of the scores of the Russian composer Igor Stravinski, is one of his masterpieces. Painting melodies

Not in vain, Ochoa lived and reflected in the cell of the monastery of La Cartuja that Federico Chopin had previously occupied. The Pathetic, by Tchaikovsky, Beethoven, the classics. The line of his musical plastic does not seem alien to the creative confinement of Mallorca.

Concerned with bohemia in his attic in Paris, a fellow of Appollinaire and Éluard, he published in La Esfera, Blanco y Negro, and Mundo Latino, the main magazines of his time. In 1975, three years before his death, the city council of El Puerto de Santa María honored him with a street. Ochoa asked for another one for Rafael Alberti, his compatriot in exile. The humanism


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