F. BANCAJA. Pl. Tetouan, 23
Heavy cavalry arrives at the Bancaja Foundation. A movement as groundbreaking and influential as the impressionist, and by the Carmen Thyssen-Bornemisza Collection, no more no less. Paradises It is composed of oil paintings 37 European and American artists, between the mid-19th century and the mid-20th century, They interpreted nature in their own way and revolutionized the way of representing the landscape. In the 17th century, nature began to take center stage in painting and this is exactly what the first part of the tour shows.: idyllic landscapes close to romanticism in which there is no trace of a human figure. From there, humans enter the scene, in the most everyday tasks, and the most distinctive features of Impressionism begin to appear, like capturing the moment, the capital importance of light and the decomposition of color. In the hard core of the sample we find heavyweights such as Monet, Gaugin and Pissarro, together with the Valencian Francesc mirrors, that stands as representative of the earth. You will not see a single Sorolla, but its influence, For example, in the way that Lluís Graner paint the sea water. Now that humans have taken center stage, nature begins to be domesticated, is part of bucolic and friendly gardens or is being exploited for agriculture. Pissarro, For example, paint a cabbage field, but not because the topic interests you in the least, but because there you find a huge range of greens that reach up to blue.. Quite a challenge, a joy for the painter. Santiago Rusiñol, for his part, plays with light and shadows in one of the most emblematic paintings of Catalan impressionism, The cross of the term, of 1892. The last moments of the exhibition are dedicated to what we understand by paradise today, the holidays. Maria Girona, For example, paint with oil (although they look like wax) a woman standing on the beach, watching, surely to the children who run around in the sand. and the last painting, painted by Emily Grau in 1972 with some green breakers, reminds us that impressionism is not dead. S.M.
