The dynamic tour of the Pictorial Abstraction exhibition proposes a journey based on the work of the different artists that make it up, and who all share the same concept: abstraction.
Throughout the tour we will stop at the different works, we will choose to start with a set of paintings that will serve as the foundation for abstraction: what it is, what its strategies are and what its language consists of. In this first approach to abstract painting, we will work based on the works of Peter Halley, Robert Ryman, Ettore Spalleti and Joan Hernández Pijuan, Alan Charlton, Sean Scully, Ferran García Sevilla, Juan Uslé, Palazuelo, Soledad Sevilla … . Each one brings us closer to abstraction through different concepts: forms, colors, order, disorder, rhythm, tension, instability, symmetry, movement ...
In collaboration with the Explicarte Association and Ester G. Guixot.
Opening hours:From Tuesday to Friday. School period, from 10:00 to 14:00 hours
Duration:90 minutes
Capacity:Minimum groups of 8 students and maximum of 25 or class group. Up to two groups are allowed at the same time and day
Type of activity:Workshop visit, Mediation
Modality:At the museum
Price:Gratuito previa reserva
Related exhibition
Sensitive Plans
04.10.2011
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08.01.2012
The works in this exhibition confront the viewer with the physical presence of painting. In its visible components—form, color, and line—lies all of its persuasive capacity. Its materiality is perceived as a visual event that emerges from the pictorial plane and acts as an energy that envelops the viewer and implicates them emotionally. In the twentieth century, painting freed itself from its imitative and representational function of the visible world and became a reality in itself. Abstraction led it to undertake a journey of exploration of the flat surface of the canvas and its physical properties, during which it stripped away everything that was not objective.In that process, painting acquired its own life. The works in this exhibition confront the viewer with the physical presence of painting. In its visible components—form, color, and line—lies all of its persuasive capacity. Its materiality is perceived as a visual event that emerges from the pictorial plane and acts as an energy that envelops the viewer and implicates them emotionally. Abstract painting is part of this constantly changing world, and its visual language does not possess permanent meanings. It will always be sensitive to different perspectives and its relationship with the viewer.
