The exhibition El siglo de Picasso (A Century of Picasso)brings together works from the Spanish avant-garde produced among thirty-four artists between 1910 and 1970, the majority from overseas collections. The exhibit is part of the exhibition programme Five Centuries of Spanish Art, whose journey begins in Paris. It is divided into five chapters linked to important historical events and also includes two detours to take in other significant historical phenomena.
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.
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.
The constructive universalism project, foundations to Joaquín Torres-García’s (Montevideo, 1874-1949) artistic and theoretical productions reaches its peak when the artist returns from Paris to his hometown in 1934 and the following year organises the Constructive Art Association (1935-1939), preceding the Torres-Garcia Workshop (1943-1962). El Museo Nacional Centro de Arte Reina Sofía joins both ideas with these two extensive exhibitions: Torres-Garcia’s career and his artistic legacy, the latter exhibited under the title La Escuela del Sur. El taller de Torres-García y su legado. Established in Montevideo, Torres-Garcia implements the idea of organising a workshop which converges, showing his artistic equality, aesthetic and theoretical, principles of pre-Columbian art with those of avant-garde abstract art, the development of which he had been instrumental in as a member of the group Cercle et Carré.
This exhibition devoted to the painter Joaquín Torres-García (Montevideo, 1874-1949) aims to present his work chronologically throughout his career and identify his logic according to his theoretical and aesthetic discourse. The objective is to highlight how the principles of tradition, construction and universality are the constants on which the work of Uruguayan are based throughout his artistic journey, which extends for the whole of the first half of the twentieth century. The words of Tomas Llorens, curator of the exhibition, referring to Torres-Garcia’s work summarises the purpose of the exhibition: "[his work] is inseparable from the sharpness and coherence of the views he defended as an artist."
The exhibition Picasso, Miró, Dalí and the Origins of Contemporary Art in Spain, 1900-1936 seeks to articulate Spanish artistic production (in several and well-known cases produced outside Spain) based on the concept of "Art Nouveau". Eugenio Carmona, curator of this exhibition gives an instrumental value to this concept and explains it as a principle that underlies much of the art that is performed during the first decades of the twentieth century. In this type of art there is evidence of a desire for a renewal of artistic languages, the paradigm of which is identified by the Spanish artists in contemporary European trends. From this perspective, the exhibition proposes a debate with Spanish art in tune with the names and aesthetic and theoretical avant-garde ideas, gathered under the umbrella of Modernism, while at the same time embedded in them. In this way, Spanish artists that have as reference the various "-isms" (Cubism, Futurism, Ultraism (Ultraísmo), Surrealism and Realism) participate in the international dimension of avant-garde art. Still, as the curator points out, "Art Nouveau" was not the only option Spanish art had in the period between 1900 and 1936.
This exhibition on Joaquin Torres-García (Montevideo, 1874-1949) highlights his "archetype of the avant-garde" character, as expressed by Miguel Logroño - curator of the exhibition along with Ángeles Dueñas - it is a recognisable quality that exists in every art project he establishes, directs and participates in throughout his career.
The writer and philosopher Eugenio d'Ors (Barcelona, 1882 - Vilanova i la Geltrú, 1954) is one of the key figures of art criticism in Spain. He is the creator of the Noucentisme concept, which includes a large group of Catalan artists who are Renaixença (Renaissance) heirs. d'Ors has a wealth of literary, critical and historiographical production. His early writings, published in 1899, are followed by the book La muerte de Isidro Nonell (1905), which marks the beginning of a fruitful career and establishes him as an indispensable reference for Spanish intellectuals in the first half of the twentieth century.
This exhibition provides an overview of Federico Garcia Lorca’s (Fuente Vaqueros, 1898 - Granada, 1936) personal and artistic biography. His cities, friends, success and the poet’s loneliness are the four main topics used to display his public and private life. An extensive correspondence and personal documents are featured in the exhibition, as well as photographs, books and manuscripts. The exhibition is completed with the works of contemporary artists who share artistic and aesthetic concerns over his career. Among these are the most outstanding representatives of Madrid’s artistic avant-garde, such as Benjamín Palencia, Rafael Barradas, Gregorio Prieto, José Moreno Villa, Adriano del Valle and José Bergamin.
The exhibition Heterotopías. Medio siglo sin-lugar: 1918-1968 is part of the Versiones del Sur, five exhibitions dedicated to Latin American art and held simultaneously in the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various commissioners, the five exhibitions look at the particularities, connections and fragmentation of Latin American art since its beginnings until its most recent artistic creations from different points of view.
F[r]icciones is one of five exhibitions from Versiones del Sur dedicated to Latin American art and held simultaneously at the Museo Nacional Centro de Arte Reina Sofía Sabatini building, the Palacio de Velázquez and Palacio de Cristal between late 2000 and early 2001. With various curators, the five exhibitions look at the particularities, connections and fragmentation of Latin American art since its beginnings until its most recent artistic creations from different points of view.
Considered the first avant-garde Spanish language poet, Vicente Huidobro (Santiago de Chile, 1893 - Llolleo, Chile, 1948) was a pioneer in the use of calligrammes, a form of expression where the words come together to form complete images that widen or complete the meaning of what has been written. Triángulo armónico is his first calligramme and is published in his 1913 book, Canciones en la noche.
The Museo Nacional de Bellas Artes de Buenos Aires and later the Pinacoteca del Estado de Sao Paulo in Brazil host the exhibition: De Picasso a Barceló: la colección del Museo Nacional Centro de Arte Reina Sofía, siglo XX, which, as its title indicates, includes the beginning and end of twentieth century Spanish art with a period marked by two multi-faceted artists. Chronologically organised, the exhibition invites its Argentine and Brazilian public to participate in the wealth of the last hundred years of art in Spain.
Gathered under the title Picasso a Tàpies. Claves del arte español del siglo XX en las colecciones del MNCARS, the Museo Nacional Centro de Arte Reina Sofía presents in this exhibition a selection of works from its own collection. It proposes a broad view of the visual arts from 1900, when Pablo Picasso moved to Paris, and 1960, when the generation of Antoni Tàpies achieves international success.
This exhibition comes from a group of exhibitions collected under the title Arte para un siglo, a selection of Spanish art from the Museo Nacional Centro de Arte Reina Sofía that has travelled through more than a dozen Autonomous regions in Spain. This project, organised by the Spanish Confederation of Savings Banks, is divided into three exhibitions whose chronological limits are marked by artistic or historical changes determined by Spanish art in the twentieth century.