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  Gilles Aillaud

Aillaud, Gilles
Other(s) author(s) : Sager, Michel, [egile] ; Derouet, Christian, [egile] ; Museo Nacional Centro de Arte Reina Sofía, [argitaratzaile]Language : SpanishMilano : Fabbri ; Madrid : Ministerio de Cultura. Centro de Arte Reina Sofía, 1991153 orrialde : koloretako irudiak ; 30 cm(Ikus) Testua. (Ikus) Irudia (finkoa ; bidimentsiokoa): bitartekorik gabeGilles AillaudExposición | Exhibition
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Gozatu
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Tabakalera-Ubik
Orokorra / General
Arteleku 41 AILLAUD gil (Browse shelf) Available 651421

"Gilles Aillaud" erakusketaren katalogoa. Catálogo de la exposición.

Bibliografia: 151-153 orrialdeetan.

Argazkiak: Jacqueline Hyde, Jacques Foujour, Adam Rzepka, Jacques L'Hoir.

Museo Nacional Centro de Arte Reina Sofía web:
- La exposición dedicada a Gilles Aillaud (París, 1928-2005) se compone de casi una cincuentena de pinturas y permite un completo recorrido por la obra de uno de los principales representantes de la corriente pictórica denominada figuración crítica, surgida en la capital francesa hacia 1963. La suya es una pintura con la que para el comisario de la exposición, Christian Derouet quiere “volver a encontrar una expresión justa de lo real y sin nostalgia del pasado”. Los dos principios sobre los que se erige su trabajo y su discurso estético son la recuperación de una pintura verdadera, a la que confiere un valor transitivo (esto es, la pintura ha de ser de alguna cosa), y la negación radical de la retórica neovanguardista de la modernidad. Aunque Aillaud decide dedicarse a la pintura tardíamente, hacia 1963, nunca abandona su otra ocupación: la escritura teatral y la escenografía.
- The exhibition dedicated to Gilles Aillaud (Paris, 1928-2005) consists of nearly fifty paintings which allow for a complete view into the work of one of the leading representatives of the pictorial trend called critical figuration that emerged in Paris around 1963. For the exhibition's curator, Christian Derouet, his style of painting is one that wants to "find a proper expression of what is real again, without nostalgia for the past." The two principles upon which he bases his work and his aesthetic discourse are the recovery of real painting, to which he confers a transitive value (that is to say, the painting has to be something), and the radical denial of neo-avant-garde rhetoric of modernity. Although Aillaud decides to devote himself to painting late in life, in around 1963, he never abandons his other occupations: playwriting and set design.

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