“Eduardo Arroyo”

Eduardo Arroyo, images and stories

After featuring Germany’s A. R. Penck, the Fondation Maeght is hosting, until 19 November, a retrospective on Spain’s Eduardo Arroyo, full of political and historical insights. Presenting the elegantly titled “Dans le respect des traditions” (Respecting Traditions). At the age of eighty years, Eduardo Arroyo has lost none of his wit and elegance. He continues to scatter lively, incisive words while waving his hands about in the air. While the artist, today, gets out of breath more quickly and speaks more softly, he has conserved his powerful creative energy. This year, the gallery Alvaro Alcazar presented, at Art Paris Art Fair, a solo show with the Spaniard’s latest paintings (medium formats), while the retrospective currently on at the Fondation Maeght offers many recent creations – this time, in the large formats favoured by the painter. Above all, this former member of La Ruche – who describes his memories of Giacometti with enthusiasm – retains something of the demiurgical power specific to image-makers. His paintings, like his words, preserve a distinct bizarreness and refrain from being mere communication tools; dense in narrative quality, they shy of baring all at first sight or at first hearing. Eduardo Arroyo is a painter who doubles up as a writer. A painter of stories In the work of Eduardo Arroyo, stories are never far from the surface, whether they are anecdotes, or else draw from History or art. During his years of exile while Franco was in power, it was above all History that interested him. Eduardo Arroyo left Spain for Paris in 1958. At first he turned towards political journalism before settling on painting, using images rather than words to strike other people’s consciences. It was thus that the young self-taught figurative painter started showing work at the Salon de la Jeune Peinture in...

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Eduardo Arroyo at the Catherine Putman Gallery

Paris, 4 October 2012. Art Media Agency (AMA). The Catherine Putman Gallery, in collaboration with Franck Bordas, is presenting for the first time printed works by Spanish artist Eduardo Arroyo, until 31 October. The exhibition, titled “The Impossible Dictionnary II” will show an entirely new cycle of 32 prints, published by the Franck Bordas editions in 2012. With a complete freedom and fantasy, Arroyo uses pencils, scissors, collage and drawing, colour and rips; a playful examination of all the possibilities of paper explored by the artist is presented by the numerical printing. Aduardo Arroyo was born in 1937 in Madrid. He is a painter, lithographer and theatre decorator. He left Spain during the Franco era in 1958, and is now living both in Madrid and Paris. He was a major figure of the New Figuration and a co-founder of the Narrative Figuration...

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Dictionnaire Impossible by Eduardo Arroyo at Catherine Putman Gallery

Paris, 10 July 2012, Art Media Agency (AMA). The Catherine Putman Gallery, in collaboration with Franck Bordas, is displaying for the first time the printed work by Spanish artist Eduardo Arroyo: le Dictionnaire Impossible II, a thirty-two plates illustrated book, entirely new and published by Franck Bordas in 2012. The Dictionnaire Impossible’s adventure started in 1997 when Franck Bordas was invited to the workshop then located in Bastille, Paris. On the heavy lithographic stone in four colours, Eduardo Arroyo has invented a series of fifty lithographs for the fifty first words in the Larousse dictionary, which has assisted him for several years, constituting this way a signed and numbered work. In 2012, at the Studio Bordas, he continued this work with the digital tool so as to approach the next thirty definitions of the second volume in a different manner. With a complete freedom and considerable imaginativeness, Arroyo went from pencils to scissors, from collage to drawing, from colour to tear; the pleasant exploration, offered by paper, which he undertook is restituted by the digital print thanks to the complicity between the artist and the editor, very attached to restituting the variety of materials, paying attention to the quality of papers, especially of Japanese papers. Naturally, the pigmentary proof replaces the lithographic proof without imitating it or demonstrating a technological efficiency. From 14 September to 31 October 2012, the Catherine Putman Gallery in Paris will be displaying this new illustrated book by the artist with its thirty-two framed plates, with a circulation of forty copies, along with the five large (80 x 60 cm) “off-printed” copies. The two large lithographs produced in 1997 and bringing together the fifty images of the first Dictionnaire Impossible will also be on...

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