Dans le respect des traditionsJuly 1 - November 12, 2017
Eduardo Arroyo is today considered one of the great Spanish painters of his generation. Born in 1937 in Madrid and connected with the Narrative Figuration movement that developed in Europe in the early 1960s, he has painted humanity through a play of images that come from society as well as history, the history of art and literature. Eduardo Arroyo is also a writer and uses fragmented narration with humor and a taste for paradox. The result is an extremely constructed pictorial work which demonstrates a constant freedom.
The Fondation Maeght’s exhibition illustrates this idea between the absurd and irony in its title: Dans le respect des traditions. From July 1 to November 12, 2017, the artist’s 80th birthday, it will present a thematic exhibition of works produced since 1964 made up of well-known paintings as well as those never before seen, including a series of paintings created especially for this exhibition. It will show a number of drawings and a collection of sculptures including shaped stones and assemblies, between fiction and reality, like the hybrid head series including Dante-Cyrano de Bergerac and Tolstoy-Bécassine. Spectacular for its diversity of materials, for its wealth of characters and its range of colors, the arrangement of works will feature small theaters that concern such paintings as Agneau Mystique by Hubert and Jan van Eyck or the one bringing together the "vanitas”, skulls and flies in the Miró Courtyard.
"Painting is somehow literary; and it is in this sense that I work on themes. There is a beginning, an end, characters, and the ambiguity specific to novels. It is therefore a story, as if I had written about fifteen novels ...", explains Eduardo Arroyo.
A committed artist, Eduardo Arroyo refuses any complacent aestheticization of art and defends the exemplary nature of the work, the power of the image. He wants his painting to be accessible to the largest possible audience. His paintings are painted in flat colors, but he frequently uses collage. He also makes sculptures using clay, iron, stone, plaster and bronze. The use of nonsense and the absurd makes him a direct heir of Lewis Carroll and Francis Picabia.
A catalogue will be published in partnership with Flammarion with texts by Eduardo Arroyo, Daniel Rondeau, Fabienne Di Rocco, Olivier Kaeppelin and Adrien Maeght.