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

Preview

Search

Pablo Gargallo. Drawings

20 january, 1998 - 20 april, 1998 /
Edificio Sabatini, Planta 3

Pablo Gargallo (Maella, Zaragoza, 1881-Reus, Tarragona, 1934) is one of the Spanish artists that most contributes to the revival of modern sculpture. Thanks to his command of welding, he poses solutions based on curves and the arabesque. In his pieces, shapes are suggested through perimeter lines in such a way that the material and the concept of volume, gradually give way to emptiness.

Like other great artists, Gargallo uses drawing as a support for his sculptures -like in El profeta (1904) or Cabeza de Arlequín (1925) – but also as a means of expressing himself. The collection of the sixty-six drawings that make up this exhibition from nearly two hundred the Museo Nacional Centro de Arte Reina Sofía has of the artist stands out, both in number and because it allows a journey throughout his career which develops mainly in Barcelona and Paris.

The exhibition begins chronologically with El niño del cordero (1896), a drawing which belongs to a phase in his academic training, and ends with Eco (1934), a study for a sculpture which he makes in the last days of his life. The two works exemplify the styles that motivate Gargallo to switch between a language of classicism and cutting-edge trends.

In the drawings, classical references related to the spirit of the Catalan Noucentisme are recognised, like in Toilette (1903) and Saliendo del baño (c.1909), but which also refer to the then still to-come vision of female intimacy by French painters –from Edgar Degas to Henri de Toulouse-Lautrec- as pointed out by María José Salazar, curator of the exhibition.

His numerous portraits, self-portraits and anecdotal scenes drawn early in the century like Muchacho del delantal de perfil (c.1898), Autorretrato con pipa (1901) or Retrato de Alfredo Viñas (1901) share the Barcelona modernist aesthetic, generated in the art bar Els 4 Gats. Conversely, the academies of the time can be compared with more elaborate watercolours later on, where volume is achieved through masses of colour, which reflects on his status as a sculptor. Also worth noting is his shift to the academic by the return to order of the Twenties, as illustrated in his drawings Desnudo en pie (1926), Arlequín con flauta (1929), Apunte para Academia IV (1933) or Estudio para Muchacho de la playa I (1933).

The exhibition gives priority to a chronological assemblage, so the tour through portraits, nudes, and washroom scenes, dancers, harlequins and horses allow one to notice a constant in Gargallo’s work, the importance he attaches to the human figure as a generator of form.

Exhibition´s details

Organized by: 
Museo Nacional Centro de Arte Reina Sofía
Curatorship: 
María José Salazar
Exhibition Tour: 

Museo Pablo Gargallo, Zaragoza (28 abril – 12 junio, 1998)

Share

Current exhibitions

  • Exhibition view. Ree Morton. Be a Place, Place an Image, Imagine a Poem, 2015
    May 20 - September 28, 2015

    Ree Morton

    Be a Place, Place an Image, Imagine a Poem

  • Exhibition view. Carl Andre. Sculpture as Place, 1958-2010, 2015
    May 5 - October 12, 2015 Palacio de Velázquez. Parque del Retiro

    Carl Andre

    Sculpture as Place, 1958-2010

  • Vista de sala de la exposición. Federico Guzmán. Tuiza. Las culturas de la jaima, 2015
    April 16 – August 30, 2015

    Federico Guzmán

    Tuiza. The Cultures of the Bedouin Tent

  • Paul Klee. Baldgreis, 1922. Oil on cardboard, 40.3 x 37.4 cm. Kunstmuseum Basel © Kunstmuseum Basel
    March 18 - September 14, 2015

    White Fire

    The Kunstmuseum Basel Modern Collection

  • Pablo Picasso. Buveuse d’absinthe (The Absinthe Drinker), 1901. Oil on canvas, 81 x 60 cm. Im Obersteg Foundation, permanent loan to the Kunstmuseum Basel. Photography: Mark Gisler, Müllheim
    March 18 - September 14, 2015

    Collectionism and Modernity

    Two Case Studies: The Im Obersteg and Rudolf Staechelin Collections