Some art exhibitions surprise me, others amaze me; in others, I find myself questioning things or reflecting, but in most I simply enjoy each piece and what the artist conveys.
Some time ago, I was able to visit one of the wonderful temporary exhibitions held every so often at the city’s Picasso Museum. These exhibitions aren’t confined to a small room; instead, the space has a labyrinthine structure, where a large area is divided into smaller sections depending on the theme. The walls are always changing colour, depending on the artist and how they wish to highlight the works, and the truth is that the museum does an extraordinary job.
Until that day, I was unaware of the great work of the surrealist artist Óscar Domínguez, who is on a par with Miró, Picasso, Dalí and many others of his era, a difficult time, when many had to live in France or travel there for their art to be recognised.
“I Am Right, Surrealist Effect. Surrealist Composition II”, 1933, oil on canvas.
“The Piano”, 1933, oil on canvas.
“The Hunter”, 1933, oil on canvas.
“Untitled”, 1933, oil on canvas.
“Le dimanche or Rut marin”, 1935, oil on canvas.
That’s why, when I stepped into the large hall, I was utterly captivated, not only by the quality of the artist’s work, but also by the size of the paintings and the way he imbued them with his own style and the spirit of his native Canary Islands.
I hadn’t always been drawn to this kind of art; it was only after I’d finished my studies in drawing and painting that I became interested. It was then that I began to see more of this kind of art, and the blend of illusion, imagination and magic, plus the fantasy, is something I love. You can capture practically anything, emotions, feelings, realities, ways of looking at life and even messages in various ways, some a little convoluted, but which the discerning eye will find meaning in.
“The Dragon Tree”, 1933, oil on canvas.
“Can Opener”, 1936, oil on canvas.
“Spring”, 1939, oil on canvas.
“Surrealist Figures”, 1937, oil on canvas.
“Apparition over the Sea”, 1939, oil on canvas.
I often see surrealist art, even if it isn’t real, as a way of expressing oneself in a coded form, and that, on the other side, there will eventually be someone who sees something in a painting that resonates with them personally. I like to think that, because every artist has the canvas before them like a blank sheet of paper through which they can say many things, both personal and things they know, and perhaps it is the only way to express what they believe, see or feel. That is why I think art is wonderful and every artist has their own special way of doing things.
This artist’s work is very good; I enjoyed standing there looking at each painting and observing both the colours he had used and his way of interpreting moments in life, sensations or experiences.
“Delfos”, 1957, oil on canvas.
“Los sifones”, 1938, oil on canvas.
“The Road Roller and the Rose”, 1957, oil on canvas.
“Lithochronic Figures”, 1939, oil on canvas.
It is a form of surrealism brimming with magic, as if we were stepping through a door into a world that leads to unexpected places, where we can see strange shapes, figures and creatures. And there will always be one painting that we like more than another. In my case, I was drawn more to those with brighter, cheerful colours, rather than the dark or gloomy paintings, although of course they all have something worth seeing.
On the other hand, as I looked at the paintings, another thing I particularly liked was that they all have a great sense of movement, as if what the artist wanted to express and everything he painted were moving to the beat of an invisible music, music with a special vibration that brought colour to some parts of the painting, light to others, and finally various shadows.
Many of the works are among my favourites, such as ‘Apparition over the Sea’, ‘Surrealist Figures’, ‘The Piano’ and ‘I Am Right’. It’s hard to choose just one. If you have a favourite, I’d love to hear about it in the comments.
“House”, Jacques Hérold, 1959, oil on canvas.
“Psychological Morphology”, Roberto Mata, 1938, oil on canvas.
“Morgane”, Kurt Seligmann, 1951, oil on canvas.
Three works by other artists accompanied this art exhibition; all three were equally spectacular. Of these three, the last one is my favourite.
In one of the corners of a very dark room, I think I found confirmation of what I said earlier: a grand piano stood there to accompany a spectacular art exhibition. The atmosphere was perfect; the lighting and the harmony of the rooms allowed me to fully appreciate the work of this great artist.
Thank you very much for joining me today; I wish you all a very happy Sunday. See you soon.
Amonet.
All photographs are my own.
