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拍品专文
This painting is sold with a photo-certificate from Ana Vazquez de Parga.
Painted in the spring of 1940, Óscar Domínguez's El soplo is filled with mysterious transformations and events that deliberately elude our comprehension and that perfectly demonstrate why he had achieved such an important and prominent role in the Surrealist movement. This painting echoes, in its composition, the religious art of the Old Masters, yet the sense of revelation that is introduced by the light at the top, by the epic landscape, and by the figure suspended as though in the air, show to what extent that genre has been transformed for more secular times. Domínguez's pictures often harnessed chance-inspired forms, dream and the subconscious in order to create vivid visions such as El soplo. In this picture, a turbulent landscape is being traversed by what appears to be a flying, humanoid form, its fine, meticulous detailing a fascinating counterpoint to the sweeping streaks that make up so much of the rest of the picture. Indeed, El soplo is filled with visual contrasts, between almost uniform areas, accretions of sharp forms and the corrugations of the drapery-like greys: much of the background is marked out by strange and stormy transformations that recall winding sheets, a recurring motif in Domínguez's work. These forms recall the material that had been wrapped around and flowed from the dummy he had arranged in the corridor leading from the entrance of the notorious International Surrealist Exhibition in Paris two years earlier. In other areas, profusions of jagged, crystalline forms emerge like some strange contagion, heightening the apocalyptic atmosphere of this turbulent painting.
Domínguez had long been fascinated by violence, and his paintings were often suffused with its influence. In El soplo, he appears to have reacted to the feeling of impending turmoil that racked Europe and France in particular at the beginning of the Second World War. The wind referred to in the title of El soplo, which appears to be blowing various forms across the slate-like landscape that is at once lunar and recalls his native Canary Islands reveals Domínguez as a barometer of his age. For much of the first years of the War, Domínguez stayed in the South of France, hoping to join many of his fellow Surrealists in fleeing the country through the assistance of Varian Fry. While Domínguez failed to leave, either by choice or for a lack of paperwork, he had spent the time waiting in the company of many of his colleagues from the movement, both artists and writers, including its leader André Breton, leading to a rich cross-germination of ideas during the period.
Painted in the spring of 1940, Óscar Domínguez's El soplo is filled with mysterious transformations and events that deliberately elude our comprehension and that perfectly demonstrate why he had achieved such an important and prominent role in the Surrealist movement. This painting echoes, in its composition, the religious art of the Old Masters, yet the sense of revelation that is introduced by the light at the top, by the epic landscape, and by the figure suspended as though in the air, show to what extent that genre has been transformed for more secular times. Domínguez's pictures often harnessed chance-inspired forms, dream and the subconscious in order to create vivid visions such as El soplo. In this picture, a turbulent landscape is being traversed by what appears to be a flying, humanoid form, its fine, meticulous detailing a fascinating counterpoint to the sweeping streaks that make up so much of the rest of the picture. Indeed, El soplo is filled with visual contrasts, between almost uniform areas, accretions of sharp forms and the corrugations of the drapery-like greys: much of the background is marked out by strange and stormy transformations that recall winding sheets, a recurring motif in Domínguez's work. These forms recall the material that had been wrapped around and flowed from the dummy he had arranged in the corridor leading from the entrance of the notorious International Surrealist Exhibition in Paris two years earlier. In other areas, profusions of jagged, crystalline forms emerge like some strange contagion, heightening the apocalyptic atmosphere of this turbulent painting.
Domínguez had long been fascinated by violence, and his paintings were often suffused with its influence. In El soplo, he appears to have reacted to the feeling of impending turmoil that racked Europe and France in particular at the beginning of the Second World War. The wind referred to in the title of El soplo, which appears to be blowing various forms across the slate-like landscape that is at once lunar and recalls his native Canary Islands reveals Domínguez as a barometer of his age. For much of the first years of the War, Domínguez stayed in the South of France, hoping to join many of his fellow Surrealists in fleeing the country through the assistance of Varian Fry. While Domínguez failed to leave, either by choice or for a lack of paperwork, he had spent the time waiting in the company of many of his colleagues from the movement, both artists and writers, including its leader André Breton, leading to a rich cross-germination of ideas during the period.