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  • ICAA Record ID
    814926
    TITLE
    Fábula y signo de la pintura (Espejo de España) / Por Juan Larrea
    IN
    España Peregrina : Junta de Cultura Española (México, D. F., México). -- No. 10 (2o. Semestre, 1941)
    DESCRIPTION
    p. 57-59
    LANGUAGES
    Spanish
    TYPE AND GENRE
    Journal article – Essays
    BIBLIOGRAPHIC CITATION
    Larrea, Juan. "Fábula y signo de la pintura (Espejo de España)." España Peregrina: Junta de Cultura Española (Mexico City) 2, no.10 (1941): 57-59.
    NAME DESCRIPTORS
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Synopsis

Juan Larrea wrote these words while looking at the panel shown by Joan Miró, the famous Spanish painter, in his country’s pavilion at the International Exhibition in Paris in 1937, during the Spanish Civil War. Though it is a product of the turmoil of the war, Larrea attempts to stress the painting’s energy and optimism. Writing in France, the author describes the “Apocalypse” in his country—the end of a particular Spain—and claims to see in Miró’s painting the seed of a new world living in peace. He remarks on the Catalan painter’s ability to simultaneously express both a clear image of Spain’s current reality and a sense of joy in the years ahead. Larrea discusses how Miró manages to capture the transition from the old land to the new.  

Annotations

Juan Larrea, a Basque writer and poet, was born in Bilbao and lived in exile in Mexico (1895-1980). He was one of the founders of the magazine España Peregrina [Migrant Spain], together with José Bergamín and José Carner. Although this article has no direct bearing on Spaniards living in exile in Mexico, it is important because it was published in that country, thus reaffirming the path to abstraction.

On the other hand, and on the subject of Spanish artists living in exile in Mexico, the article contains an important reference to the pavilion at the International Exhibition in Paris in 1937, which was an unprecedented opportunity to restate the cause of the Spanish Second Republic. That is where Pablo Picasso’s Guernica was first shown to the world, becoming an instant symbol of the time and, subsequently, one of the most significant paintings of the twentieth century. Four decades later, in 1977, Larrea wrote about Guernica.

Researcher
María Teresa Suárez / Guadalupe Tolosa : CURARE A. C.
Team
CURARE, Espacio crítico para las artes, Mexico City, Mexico
Location
Ateneo Español de México, A. C.