Eduardo Arranz-Bravo: The Moment of Painting: A RETROSPECTIVE
New York | San Francisco
THE MOMENT OF PAINTING
All acts of love gaze at both the moment and at eternity.
— Friedrich Nietzsche
Eduardo has entered a clearly musical period. In some cases, his tempo of choice is the counterpoint: painting, understood as a low note, clearly differentiated from the compositional harmony of the background as in The Big Tender and Big Dream. However, in the more euphoric series, the musical tempo is more like a symphony — a symphony of colors that erupt and burst out in the background of the composition, like flavors exploding on the palate. The tempo is also an explosion of forms, as if the artist were attempting to capture, through volume and line, the waves of pleasure and energy generated by the intense experience of a life-filled moment.
This seems to me a mature approach to painting; the forms generated are now the consequence of longer, richer, deeper reflection on the human experience.
But love, in Arranz-Bravo’s work, is the fountain from which all his imagery flows.
—Albert Mercadé, Artistic Director, Arranz-Bravo Foundation, from the exhibition catalog
We are thrilled to have in our RETROSPECTIVE 30 older works of art which were included in an exhibition at the Arranz-Bravo foundation earlier this year. The exhibition, titled 75-75, was in honor of Eduardo’s 75th birthday and included 75 works, mostly from the artist’s personal collection, with interpretive comments by people from the cultural and civil community.
Albert Mercadé, Director of the Arranz-Bravo Foundation, speaks about the artist's recent work.
Franklin Bowles Galleries
October 14, 2017
Camera: Victor Lazaro.
Editing: Scott Saraceno
Earlier this year, the Arranz-Bravo Foundation celebrated Eduardo’s 75th birthday with a project suitable to such an important occasion. Seventy-five people from both cultural and civil society were invited to select and comment on a work of art by our artist. They were presented with a choice of seventy-five pieces, consisting of fifty-nine archived retrospective works by Arranz-Bravo, six objects from his personal collection and ten pieces from the collections of the Arranz-Bravo Foundation. All of Arranz-Bravo’s artistic phases are represented in these seventy-five works, which were exhibited alongside their seventy-five interpretations at the Foundation and were also reproduced in an accompanying catalog. The exhibition was appropriately titled: 75-75. The foundation believes that art is made not only by the artist; art is an extraordinary assertion of the collective and the written input from so many participants helped to build a most unusual artistic biography of Eduardo Arranz-Bravo covering the breadth of his career.
The pieces in this section were all included in the 75-75 exhibition.