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Raoul Dufy

From 17 February to 17 May 2015

Early booking is recommended



Autor:
Raoul Dufy
Título:
Open Window, Nice, 1928
Técnica:
Oil on canvas
Medidas:
65,1 x 53,7 cm

Ubicacion:
The Art Institute of Chicago, Joseph Winterbotham Collection
© Raoul Dufy / VEGAP / Madrid, 2015

Paul Delvaux: A Walk with Love and Death

From 24 February to 07 June 2015

Early booking is recommended



Autor:
Paul Delvaux
Título:
The Table, 1946
Técnica:
Oil on canvas
Medidas:
86 x 76 cm

Ubicacion:
Private Collection on deposit at Musée d´lxelles, Brusssels
© Foundation Paul Delvaux, Koksijde, Belgium / VEGAP – SABAM – 2015
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  • Pierrot with a Guitar

Thyssen-Bornemisza Collection

Autor:
Salvador Dalí
Título:
Pierrot with a Guitar
Fecha:
ca. 1923
Técnica:
Oil and collage on cardboard
Medidas:
54.5 x 52.3 cm
Úbicacion:
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 512 (1986.12)

More information about this work




The Thyssen-Bornemisza Pierrot with a Guitar, a collage the artist amused himself making as a gift for his cousin Montserrat Dalí , is considered by Rafael Santos Torroella to be “a small masterpiece of Cubist inventiveness” and “one of those in which Dalí best captured the spirit and meaning of that trend.” Most likely executed at the Residencia de Estudiantes in Madrid, where the young painter lived while studying at the Escuela de Bellas Artes de San Fernando, it belongs to the Cubist series he produced between 1923 and 1925.

Unlike some of his colleagues , Dalí remained alert to external innovations. He reveals in The Secret Life that “in my room I was beginning to paint my first cubist paintings, which were directly and intentionally influenced by Juan Gris. They were almost monochromes . As a reaction against my previous colourist and impressionist periods.” In another passage he tells how these paintings secured him membership of the Madrid avant-garde circles: “[His companions at the Residence] came all in a group to look at my paintings and [...] their surprise knew no limits. That I should be a cubist painter was the last thing they would have thought of!”

In the present Pierrot the interpretation of Cubist fragmentation takes the form of a surface divided into different planes and, like all Dalí’s Cubist works, is closely related to the Neo-Cubist trends that the Madrid avant-garde circles were late to espouse. It furthermore bears a close similarity to a Still Life by Picasso reproduced in the second issue of the journal Valori Plastici published in 1919.

Paloma Alarcó

© 2009 Museo Thyssen-Bornemisza

Paseo del Prado 8, 28014 Madrid, España

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