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



Armando Reverón (1889-1954) Anthological Exhibition

March 3 - April 19, 1992
Palacio de Velázquez, Parque del Retiro, Madrid

The Museo Nacional Centro de Arte Reina Sofía presents one of the most preeminent Venezuelan artists, whose work and character are determined by the construction of an artistic identity based on the notion of the “noble savage”, in the first half of the century, Armando Reverón (Caracas, 1889-1954). Once he completes his academic education, Reverón travels to Barcelona and Madrid, in 1911, and a few years later to Paris, where his interest is not in the transgression of language and the academic representation of the Cubist avant-garde, but in retracing Post-impressionism and landscape painting based on principles of light. Upon returning to Caracas his alienation from artistic circles results in his voluntary withdrawal to the margins of civic and social centres and from 1923 onwards his farm-studio in Macuto becomes the setting for his painting.

Alfredo Boulton divides Reverón's work into three periods: Blue (1919-1924), White (1924-1934) and Sepia (1935-1954), dominated and differentiated not only by pigment, but also by stylistic and technical changes. The sense of completion found in the first period, seen in works such as La cueva (1920) and Los baños de Macuto (1921), progressively fades to the rendering of details dominated by a heightened sense of light, as in Uveros (1927) and Cocoteros (1931), in which he uses blunt wooden brushes to apply colour. Boulton states how the: “Freedom of technical and pictorial interpretation signifies the start of a separation from the past of the figurative and realist conception of image (Cocoteros, 1944).”

Reverón is a painter akin to the French artists Henri Matisse and Pierre Bonnard because of both his themes (portraits, groups of bathers, landscapes, seascapes) and his vocabulary. Relevant criticism maintains his arrival at the same conclusions and pictorial outcomes as both those artists, reflected in works such as Juanita en traje de baño rojo (1933) and Figura con abanico (1947), without him ever knowing their work. By the same token, the development of the theme of the “Maja” (woman) and the recovery of expression in his brush strokes at the end of the thirties, visible in the Dama con mantilla (1939), enable art criticism to allude to elements of Goya's work running through his painting.

The two nervous breakdowns he suffers in 1936 and 1945 heighten his existing extravagant social attitudes and, after being unable to find any models, he turns to making dolls and mannequins. This last period features diverse wicker figurines Esqueleto and paper masks that denote a shift towards children's art and naïve art

Exhibition´s details

Organized by: 
Galería de Arte Nacional, Caracas
Luis Miguel La Corte and Rafael Romero
Armando Reverón


Current exhibitions

  • Bruce Conner. SPIDER LADY HOUSE, 1959. Wood, nylon, ice skate, doll parts, rope, jewelry, feathers, animal hair, corks, wallpaper and paper on wood. Oakland Museum of California Collection. Donation from the Collectors Gallery and the National Endowment for the Arts ©Bruce Conner, VEGAP, Madrid, 2016
    February 22 - May 22, 2017

    Bruce Conner

    It’s All True

  • Ramses Younan. Untitled, 1939. Oil on canvas
    February 14 - May 28, 2017

    Art et Liberté

    Rupture, War and Surrealism in Egypt (1938–1948)

  • Lothar Baumgarten. Photography. The ship is going under, the ice is breaking through, 2001
    November 3, 2016 - April 16, 2017

    Lothar Baumgarten

    The ship is going under, the ice is breaking through

  • Daniel Buren, Les Écrits (1965-1990), Bourdeaux: CAPC musée d’art contemporain, 1991. Museo Nacional Centro de Arte Reina Sofía. Photo: Centre for Artists’ Publications, Weserburg, Bremen. © DB – VEGAP, Madrid, 2016
    September 21, 2016 – May 22, 2017
    Program: Biblioteca y Centro de Documentación
    Biblioteca y Centro de Documentación