List of selected artworks. Maps for the tour in the museum

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  • Antoni Tàpies. Paja prensada a la X, 1969. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    07 november, 1990 - 31 december, 1990

    The purpose of this retrospective exhibition is to contextualise Antoni Tàpies' (Barcelona, 1923-2012) vast productions of sculptures and objects throughout his career, insisting on the unity and insolubility of all his work. For this, all works have been collected that were produced between 1946 and 1990 and which have as a common denominator the assemblage (assembly) as a process and technique, something which serves to support the three objectives of the exhibition, in the words of Gloria Moure, curator of the exhibition: "It highlights the radical, the compactness and the contemporaneity of Tàpies' work."

  • Exhibition view. Memory of the future. Italian art from early avant-garde to post-war, 1990
    31 october, 1990 - 15 january, 1991

    In the context of critical readings from art history, Memory of the future. Italian art from early avant-garde to post-war shows the approach to the first sixty years of twentieth century Italian art, under the premise that its continual renewal is rooted in tradition. The exhibition does not consider memory and the future as interchangeable terms, comparable or opposed, but defends the idea that modern Italian art arises from their mutual contamination and friction. Thus, Memory of the future breaks the chronologically linear art history story and allows more recent artistic and cultural memories to play a more active role. In this feedback of Italian art, the art of the future is assumed to be a tradition which is yet to be completed.

  • Bram van Velde. Composition, 1970. Oil on canvas. Museo de Bellas Artes de Bilbao
    28 march, 1990 - 14 may, 1990
  • Antonio Saura. La gran muchedumbre, 1963. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    21 december, 1989 - 19 march, 1990

    This Antonio Saura (Huesca, 1930 - Cuenca, 1998) exhibition, organised by the Musée Rath and Museum of Art and History in Geneva, is held to mark the fiftieth anniversary of the presentation of Museo del Prado collections in Geneva in 1939.

  • 14 december, 1989 - 04 march, 1990

    This exhibition is one of the most extensive on Latin American art seen to date in Spain. At the Palacio de Velázquez over four hundred works have been displayed showcasing the artistic wealth in Latin American regions starting from the Wars of Independence against Spain (c. 1800-1821) until 1980.

  • Manuel Millares. Aborigen nº1, 1951. 75x95 cm. Oil on canvas. C.A.C. Bodegas Vega Sicilia, S.A. - Museo Patio Herreriano, Valladolid
    15 november, 1989 - 30 december, 1989

    La Asociación de Amigos del Reina Sofía was established in 1987 as the result of a group of entrepreneurs coming together to create a collection. The acquisitions of pieces is done as an individual initiative, but the character of the collection is public, it cooperates with institutions and is made available to as many citizens as possible.

  • Exhibition view. Miquel Navarro. Minerva Paranoica, 1989
    27 october, 1989 - 11 january, 1990

    Miquel Navarro (Mislata, 1945) is one of the predominant figures in what is known as “New Spanish Sculpture”. He begins his career in the Sixties with a pictorial style that he himself classifies as Expressionist and in 1974 he creates his first Ciudad (City), a collection of modular, repetitive and geometric forms grouped together in compositions that simulate urban networks and create cityscapes that are spatially positioned like a sculptural installation.

  • Sean Scully. Black Robe, 1987. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    14 september, 1989 - 12 november, 1989

    The Irish-born American painter Sean Scully (Dublin, 1945) starts to work with Abstraction at the beginning of the Seventies. He becomes interested in the humanisation of painting in opposition to formalist parameters; according to Scully his work can be summed up in the move “from the object line to the subject line”. The directions, represented by horizontal and vertical lines and the tensions they create, are at the heart of his production. This new geometrical approach, which moves away from the idea of purity and appropriates errors, reflects the troublesome relationship between the individual and the collective and opens up a new field of reflection, previously unknown to abstract painting.

  • Equipo Crónica, Pintar es como golpear, 1972. Painting. Museo Nacional Centro de Arte Reina Sofía Collection, Madrid
    13 september, 1989 - 30 october, 1989

    The aesthetic approaches of the Equipo Crónica (Chronicle Team) (1964-1981) evoke the visual atmosphere of an era. The group materialises as one of the most coherent ideas from the figurative movement, which, at the beginning of the Sixties, attempts to leave informalist Spanish painting behind.

  • Paul Gauguin. Mata Mua (In Olden Times), 1892. Oil on canvas. Carmen Thyssen-Bornemisza Collection on deposit at Museo Thyssen-Bornemisza, Madrid
    28 june, 1989 - 24 july, 1989

    The Centro de Arte Reina Sofía has been chosen by Baron Hans Heinrich Thyssen-Bonemisza as the venue for displaying one of his latest acquisitions: the painting Mata Mua (Autrefois)  by Paul Gauguin (Paris, 1848 - Atuona, French Polynesia 1903).

  • Exhibition view. Beyeler Collection, 1989
    24 may, 1989 - 24 july, 1989

    A selection of the best works from the Beyeler Collection is presented for the first time in public. The exhibition in the Centro de Arte Reina Sofía brings together previous exhibits devoted to private collections, for instance the Panza di Biumo, Nasher, Sonnabend and Phillips collections.

  • 18 may, 1989 - 15 july, 1989

    In this exhibition sixty-two works by Ferran García Sevilla (Palma de Mallorca, 1949) are presented under the title La torre de papel (The Tower of Paper). His artistic career gets underway in the Sixties with his initial work being linked to Conceptual Art; it later moves into the pictorial sphere at the beginning of the Eighties.

  • Exhibition view. Ülrich Rückriem: estela y granero, 1989
    13 april, 1989 - 17 july, 1989

    Ulrich Rückriem (Düsseldorf, Germany, 1938) begins working as a sculptor in the Sixties after an intensive education in a stonemasons workshop where he learns the profession and stone cutting techniques - filing, splitting, smoothing and polishing. His experience in this craft forms the base from which he begins to formulate his own sculptures.

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