Reflections Of Spain, Through a Broken Mirror
By John Starr
Monday 28th September 2009
Monday 28th September 2009
The Discovery of Spain exhibit and its components.
It is a widely known fact that history is written by the victors; however, in art this is not the case. Currently (until October) there is an exhibition at the National Galleries in Edinburgh; entitled “the Discovery of Spain.” Despite this, the exhibitors have managed to put a minimal amount of Spanish art on the walls; a majority of the paintings are by non-Spaniards, influenced by Spain. It was easy to float by the genre scenes by Wilkie and Goya, but it wasn't until a disturbing image of the Madonna, by Zurbarán, that I began to think that there might be something more interesting and sinister about Spain. The longer I stared at the painting; the more baby heads I noticed, peering at me with morbid bliss from all corners of the canvas. I thought I had seen movement out of the corner of my eye, and I spun around to face a monkey, glaring at me, immersed in a thick shadow. Along this wall of the room were the striking paintings of El Greco; master of expression and atmosphere. He can be classed an expressionist, but is more known as an Greek artist of the Spanish Renaissance. His paintings were bold and rough; almost like the blood-soaked tongue of a Siberian tiger. Beyond the uninteresting genre scenes and portraits were the more vibrant laments of the Spanish Civil war. It is most ironic that despite the defeat of the Republicans, only one painting in the exhibition was pro-Franco. However, all, except Picasso, were British artists; and we British love an under-dog. Twisted, imprisoned figures and sculptures by Moore called mutely with wide eyes, whilst mysterious and haunting figures crowded the room; spilling from the cruel watercolours of Burra. “The Weeping Woman” sat mournfully in the centre of the turmoil; tears like needles, unsure where to look. The woman's face was split through torment, coloured by bright agony; calling in sympathy to a nearby preparatory sketch. Flagging Democracy retreated into the shadows, away from the poisons of Nationalism; highlighted in this gallery. Only one small painting stood proud, sneering at the failed stand of Left-wing supporters; the “Surrender of Barcelona,” by Wyndham Lewis. His painting was jarring and immaculate; taunting Democracy with its chivalrous depiction of the Nationalist army. It didn't seem fair that the losers had so much space for expression, leaving the testament of the victors in the gloom, but perhaps through the omission of more Right-wing works the impact of their victory was more evident. The volume of anti-Franco art, literature and poetry speaks against the injustices of the Spanish Civil war, but just as there are divisions within the fractured studies of “the Weeping Woman,” the Republicans were divided; leading to crushing defeat. Perhaps cubism was an apt choice of style to represent the crumbled stand against Nationalism.
It is a widely known fact that history is written by the victors; however, in art this is not the case. Currently (until October) there is an exhibition at the National Galleries in Edinburgh; entitled “the Discovery of Spain.” Despite this, the exhibitors have managed to put a minimal amount of Spanish art on the walls; a majority of the paintings are by non-Spaniards, influenced by Spain. It was easy to float by the genre scenes by Wilkie and Goya, but it wasn't until a disturbing image of the Madonna, by Zurbarán, that I began to think that there might be something more interesting and sinister about Spain. The longer I stared at the painting; the more baby heads I noticed, peering at me with morbid bliss from all corners of the canvas. I thought I had seen movement out of the corner of my eye, and I spun around to face a monkey, glaring at me, immersed in a thick shadow. Along this wall of the room were the striking paintings of El Greco; master of expression and atmosphere. He can be classed an expressionist, but is more known as an Greek artist of the Spanish Renaissance. His paintings were bold and rough; almost like the blood-soaked tongue of a Siberian tiger. Beyond the uninteresting genre scenes and portraits were the more vibrant laments of the Spanish Civil war. It is most ironic that despite the defeat of the Republicans, only one painting in the exhibition was pro-Franco. However, all, except Picasso, were British artists; and we British love an under-dog. Twisted, imprisoned figures and sculptures by Moore called mutely with wide eyes, whilst mysterious and haunting figures crowded the room; spilling from the cruel watercolours of Burra. “The Weeping Woman” sat mournfully in the centre of the turmoil; tears like needles, unsure where to look. The woman's face was split through torment, coloured by bright agony; calling in sympathy to a nearby preparatory sketch. Flagging Democracy retreated into the shadows, away from the poisons of Nationalism; highlighted in this gallery. Only one small painting stood proud, sneering at the failed stand of Left-wing supporters; the “Surrender of Barcelona,” by Wyndham Lewis. His painting was jarring and immaculate; taunting Democracy with its chivalrous depiction of the Nationalist army. It didn't seem fair that the losers had so much space for expression, leaving the testament of the victors in the gloom, but perhaps through the omission of more Right-wing works the impact of their victory was more evident. The volume of anti-Franco art, literature and poetry speaks against the injustices of the Spanish Civil war, but just as there are divisions within the fractured studies of “the Weeping Woman,” the Republicans were divided; leading to crushing defeat. Perhaps cubism was an apt choice of style to represent the crumbled stand against Nationalism.