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Alma-Tadema and Victorian Painting
in the Pérez-Simón Collection

From 25 June to 12 October 2014 (extended closing date)



Autor:
Sir Lawrence Alma-Tadema
Título:
The Roses of Heliogabalus (detail)
Fecha:
1888
Técnica:
Oil on canvas
Medidas:
132.7 x 214.4 cm

Ubicacion:
Pérez-Simón Collection, Mexico

Carmen in Spanish collections

From 7 October until 9 November 2014

Special Collaborative Exhibition. Free entry



Autor:
Pablo Picasso
Título:
Femme de profil à l’éventail, 1964, illustrations for the book Le Carmen des Carmen by Prosper Mérimée and Louis Aragon
Fecha:
1964
Ubicacion:
Fundación Bancaja Collection
© Sucesión Pablo Picasso, VEGAP, Madrid, 2014
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  • Death Watching his Family

Thyssen-Bornemisza Collection

Autor:
Yves Tanguy
Título:
Death Watching his Family
Fecha:
1927
Técnica:
Oil on canvas
Medidas:
100 x 73 cm
Úbicacion:
Museo Thyssen-Bornemisza, Madrid
Numero de inventario
INV. Nr. 769 (1975.26)

More information about this work




1927 marked the beginning of Yves Tanguy’s more mature and personal work. During that year the painter, who was self-taught, joined the Surrealist group and, introduced by André Breton, exhibited his works for the first time at the Galerie Surreáliste in Paris, including the present dream landscape entitled Death Watching his Family. The painting depicts a beach and above it a series of biomorphic forms and a rotting corpse, together with a construction that may allude to the dolmens of Brittany. In this canvas the artist, who for a time experimented with automatic drawing, achieves an impeccable blend of the psychic automatism of the Surrealists, using greatly diluted oil paint, and a detailed, realistic rendering of the various objects, which denotes his fondness for belle peinture. The floating shapes are evidently related to those painted by Miró in the mid-1920s, while the spatial organisation of the seascape recalls the metaphysical style of De Chirico. As in other paintings from the same period, the mysterious title is taken from the last chapter of Charles Richet’s Traité de métapsychique, which deals with parapsychological phenomena.

The information given on the painting’s provenance in the catalogue of the Tanguy exhibition held in Baden-Baden in 1982 stated that the work belonged for a time to Nancy Cunard. If this is true, it must have been acquired during Tanguy’s exhibition in 1927, when the writer, then Louis Aragon’s lover, visited the show. As is well known, Cunard owned a collection of works by Picasso, Tanguy and De Chirico at her Normandy home, Le Puits Carré, together with numerous African sculptures.

Paloma Alarcó

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