Room 402

On this occasion, the goal was to offer a wide-angle point of view, trying to present not just the first attempts of a cornered and crippled Avant-garde to take shape again in the shadows, but also the images and formal proposals, immediately after the end of the war, of the artist on the winning side. These begin an attempt to reach an official aesthetics of the regime, starting from the common places of the “telluric” Surrealism of the thirties, from the iconographic density of Dalí, from the metaphysical solemnity of Italian painting, in a combination that redeemed the ruins and was utopian in reconstruction, as can be seen in the works of José Caballero, Carlos Sáenz de Tejada, Luis Castellanos, who propagated an aesthetic that were supposedly the bearer of the Spanish scene.