Libros de Artistas contemporáneos, página 39 de 380

It is difficult to classify Meeses production into any particular movement, though German Expressionism is perhaps his main source of inspiration: his works are dominated not only by the horrors of war and general discontent but also by recent art history in the environment created by Germany, by Viennese Actionism and by the Neo-Expressionism of Baselitz and Kiefer. This exhibition catalogue features a selection of paintings, collages, sculptures and ceramics seen for the first time. Introductory text by Fermando Frances and an essay by Fernando Castro Florez.

Historiography gathers together a wide range of paternities for the word Cubism, which is used to refer to the painting Picasso and Braque were doing in 1908: a painting of cubes with deep roots in Cézanne. The aim of its inventors was to go back to portraying constructive values by way of deconstruction and analytically exhausting the objects in the paintings. They were trying to move beyond the anecdotal aspect of themes and technique and the purely sensorial side of the blot or smudge painting that had dominated the French panorama in the wake of Impressionism. Cubism was an artistic manifestation with a considerable scientific charge and the Cubist painters, using painting and meta-pictorial ingredients, attempted to represent reality in all its physical, material and tactile reality. Besides the support of D. H. Kahnweiler, art merchant and hagiographer, Cubism was consolidated thanks to the contributions of critics, both those of a like mind and the more reticent, who were then making the first attempts to classify it in order to understand it as a historic trend. Of another nature-and this is not exempt of prejudice-is the question of the end of Cubism, which we would date to 1914. It was after this that a new Cubism emerged and this would become the real French school.

Catálogo de exposición Guggnheim- BilbaoAnish Kapoor es uno de los artistas más destacados de su generación. Sus majestuosas y fascinantes esculturas, de sobrecogedoras dimensiones y sencilla belleza, exigen una respuesta fisica, pero sin dejar de apuntar la existencia de un ambito metafisico. Jugando con el contraste entre la forma y el vacio, la luz y la oscuridad, y sirviendose de colores intensos y pulidas superficies, Kapoor se remite a lo espiritual y lo mistico, creando efectos opticos que ponen en cuestion las certidumbres perceptivas. Esta publicacion profusamente ilustrada sigue los pasos de Kapoor en su evolucion artistica, en una carrera que abarca mas de treinta años. Nuevos e incisivos textos de ilustres observadores indagan en las connotaciones filosoficas de la obra del artista, mientras que una cronologia ilustrada y una antologia de estudios anteriores completan este analisis del lugar que Kapoor ocupa tanto en la historia de la escultura contemporanea como en el contexto actual.

Picasso called Dalí "an outboard motor that’s always running." Dalí thought himself a genius with a right to indulge in whatever lunacy popped into his head. Painter, sculptor, writer, and filmmaker,

"I wanted to be a painter, and I became Picasso," declared Pablo Picasso (1881-1973) in an apt survey of a triumphant career. He had good grounds for the confidence palpable in his statement, for in the history of 20th century art, his name stands out over all the others. In Picassos paintings, drawings, lithographs, ceramics, and sculptures, he was tirelessly inventive and innovative, exhibiting an aesthetic bravado that kept him one step ahead of his contemporaries. From subject matter to new forms and techniques to new media, Picasso got there first. The Spanish artist's enormous output, from the eight-year-old's beginnings to the late work of a man of ninety-one, is surely one of the most diverse and creatively energetic in the whole history of art, and it is no exaggeration to see him as the genius of the century. Carsten-Peter Warncke's study is a thorough review of Picasso's entire oeuvre, from the early Blue and Rose Periods, through the analytic and synthetic cubism and classicist phase all the way up to the art of the old savage Picasso.

60 artistas del Museo Luis González Robles han expuesto sus obras, pintura, escultura, dibujo, cerámica, obra gráfica y tapiz, en la conmemoración de los 500 años del Primer Curso Académico de la Universidad de Alcala. Se trata de un exhaustivo recorrido por la creacion plastica, durante casi seis decadas.

La historiografía recoge muy diversas paternidades de la palabra cubismo, usada para referirse a la pintura que Picasso y Braque hacían en 1908: una pintura de cubos de fuerte raigambre cézanniana. La intencion de sus artifices fue volver a una pintura de valores constructivos a traves de la descomposicion y el agotamiento analitico de los objetos en sus cuadros. Pretendian superar el lado anecdotico de temas y tecnica y el puramente sensorial de la pintura de manchas que dominaba el panorama frances desde el impresionismo. El cubismo fue una manifestacion artistica con gran carga cientifica, cuyos autores, valiendose de la pintura y de ingredientes metapictoricos, pretendian representar la realidad en toda su integridad, fisica, material y tactil. Ademas del apoyo de D. H. Kahnweiler, marchante y hagiografo del cubismo, este se consolido gracias a las aportaciones de la critica, tanto de la mas afin como de la mas reticente, que ya por entonces realizo las primeras tentativas de clasificacion para entenderlo como una corriente historica. De distinta naturaleza -y no desinteresada- es la cuestion sobre el fin del cubismo, que situamos en 1914. A partir de ese momento nacio un nuevo cubismo que llego a convertirse en verdadera escuela francesa.

This monograph was published in conjunction with a mid-career retrospective of Jim Hodges' work at The Centro de Arte Contemporanea in Santiago de Campostela, Spain. Essays by: Susan Harris, Manuel O

Primera exposición sobre Wyndham Lewis (Amherst, Nova Scotia, 1882-Londres, 1957) presentada en España, y la más completa realizada nunca, desde la antológica que le dedicara la Tate en 1956, un año antes de su muerte. A través de más de 150 obras y de sus más de 60 publicaciones, se ofrece un exhaustivo recorrido por la obra artística y literaria de esteá polifacético y controvertido artista, una de las figuras clave del modernismo internacional de la primera mitad del siglo XX.