Solana Carnival

Solana Carnival
Solana Carnival
Anonim

Spanish painter José Gutiérrez Solana (1886 – 1945) was the great representative of poor, black Spain in the first decades of the 20th century. And he did it with very tremendous paintings and close to theExpressionismthat triumphed in Europe, as is the case of Las mujeres de la vida.

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Solana Carnival

There were also many contemporary painters from all over the continent who resorted to painting characters with masks or carnival scenes to criticize their society, however in the case of Solana we have to talk of a painter with an absolutely personal style that is not understood outside of Spain.

He painted paintings with the theme of Carnaval on numerous occasions and as a rule he does so in small or medium format works. And when he poses these types of images, he does so thinking about the essence of carnival parties, that is, showing the attitude of dressing up or putting on a mask as a way for the subconscious to surface. He understands the mask in the sense of the Greek tradition that comes from Antiquity, where the idea was forged that thanks to the masks people were hidden and also made equal to each other, at the same time that the truth is somehow revealed. of each, showing what is usually hidden.

And is that putting on a mask can cause the most irrational inner self to be given free rein, thus reversingthe dominant order of everyday life. A philosophy that is applicable to the meaning of the carnival festival, even today, but in Solana's case it must be placed in the cultural context of his time, a time when one of the expressive tendencies was that of esperpento that above all was treated in Hispanic literature with an author as important as the playwright and novelist Ramón María del Valle Inclán, with whose literary works without a doubt, they have a close relationship with many of José Gutiérrez Solana's paintings.

Just look at this painting to see that the characters and their pose make up a clearly grotesque image. Typical of the black Spain that the greatFrancisco de Goyahad already portrayed in his most personal paintings at the beginning of the 19th century. A gloomy atmosphere with a great taste for death and in which the enormous importance that religion and the rulings of the Catholic Church had on Spanish society is always reflected.

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