Helena Almeida: 'Seduzir' [To Seduce, 2002] (detail)

Collection

París [Paris]

Image caption
ALFONSO DE OLIVARES

París [Paris]

  • 1917
  • Oil on canvas
  • 130 x 97 cm
  • Cat. P_560
  • Acquired in 1994
By:
Frederic Montornés

Alfonso de Olivares's output is relatively scant because, among other reasons, he had to split his time between painting, his career in the diplomatic service, his writing, his collecting, managing his family's properties and, later, the organising of shows such as the Exposición de la Sociedad de Artistas Ibéricos ['Exhibition of the Society of Iberian Artists'] at the Exhibition Centre in Madrid's El Retiro Park (1925). As an artist he focused less on the academic style that prevailed in Spain in the first quarter of the 20th century and more on trends in European art, for which he felt great admiration. He had access to European art because he lived in Paris, where he was in regular contact with such major artists as Picasso, Pablo Gargallo, Juan Gris, Julio González, Óscar Domínguez, Francisco Bores and others.

Characterised by the autonomy of Olivares' colourful graphic style and a definite attraction for a type of art prompted by the invention of the collage and the disappearance of practically all the elements of composition and perspective that had traditionally come together in the painting of landscapes, Paris (1917) stands out for the influence that it shows of both cubism and incipient surrealism. This applies particularly to the absence of planes, the predominance of dark backgrounds and the uniformity from which a shape rather like the Eiffel Tower emerges. He manages to place it in an architectural setting that is both highly schematic and wholly characteristic of the Paris of his time. This work by Alfonso de Olivares can be thought of as a clear example of the influence wielded from Paris by a new world view originating entirely outside academic tradition.

Frederic Montornés

 
By:
Frederic Montornés
Alfonso de Olivares
Hernani, Gipuzkoa 1898 - Hernani, Gipuzkoa 1936

In 1916 Alfonso de Olivares enrolled to study Law at the Complutense University in Madrid, while at the same time taking painting classes at the studio of José María López Mezquita. After graduating in Law in 1921 he began to study to join the diplomatic service. In 1923 he moved to Paris to extend his experience and knowledge of his true passion: painting. He lived there until 1932, and struck up friendships with great artists including Pablo Picasso, Pablo Gargallo and Juan Gris. His earliest works were in a cubist style. They were painted in 1926 but were not shown in public until 1934. He subsequently experimented with abstract art before eventually dedicating himself fully to non-figurative surrealism. As well as painting, he also wrote about art in journals such as La Gaceta Literaria (1927), published the essays Arte Moderno ['Modern Art'] (1934) and Las Escuelas Españolas de Pintura ['Spanish Schools of Painting'] (1936) and was a great art collector.

His early death at the age of just 38 means that his output is scant. But although few in number, his works were shown at major exhibitions including an exhibition of painting and sculpture by Spanish artists living in Paris at the Botanical Gardens in Madrid (1929) and an exhibition of architecture and contemporary art at the casino in San Sebastián (1930). His paintings continued to be exhibited after his death, in joint exhibitions at venues such as the Museo Reina Sofía (Madrid), the Schirn Kunsthalle (Frankfurt, Germany), the La Caixa Foundation (Madrid) and the Palazzo Forti (Verona, Italy). In 1976 a monographic exhibition of his work was held at the Exhibition Hall of the Directorate General for Artistic and Cultural Heritage in Madrid.

Frederic Montornés

 
«Isms. Avant-garde Art in Spain (1910-1936)» (Madrid, 1993-1994). «Whole Light. Esteban Vicente & his Contemporaries» (Segovia, 2003). «Journey to the Invited Islands. Manuel Altolaguirre 1905-1959» (Malaga, 2005). «Journey to the Invited Islands. Manuel Altolaguirre 1905-1959» (Madrid, 2005).
Juan Manuel Bonet Luz entera. Esteban Vicente y sus contemporáneos, 1908-1936, Segovia, Museo de Arte Esteban Vicente, 2003. James Valender & Almudena de la Cueva Viaje a las islas invitadas. Manuel Altolaguirre, 1905-1959, Malaga, Palacio Episcopal de Málaga, 2005. Vv.Aa. Colección Banco de España. Catálogo razonado, Madrid, Banco de España, 2019, vol. 1.