BLANCHARD (IN THE PICASSO MUSEUM IN MALAGA) IS NOT IGNORED.

2024-07-29 06:12:38

BLANCHARD (IN THE PICASSO MUSEUM IN MALAGA) IS NOT IGNORED.

Amparo Serrano de Haro and Africa Cabanillas

The presentation Maria Blanchard. A painter with cubism, which can currently be seen in the Picasso Museum in Malaga, although it is very interesting, it seems, however, to follow the line of each of the new exhibitions of women held in our country, which, obviously, not noticed or not noticed. for the value of presenting the work of these artists in their creative context. Again, the usefulness of these monographic exhibitions, and it seems that everyone approves of this, is the exclusive presentation of a set-more or less-of works by the creator to whom they are dedicated, almost always in order prediction.

Although this allows us to approach women artists with unprecedented attention, importance and depth, it has an important drawback, which can even be a contradiction to their identity. And the truth is that, by not including all works by other creators, both women and men, that is, by being presented in a completely isolated way, their inclusion and evaluation within the categories of History of art is prevented, even if accidentally Art.

Maria Blanchard, rectangular composition1916-1919

John Gray, Newspaper, glass and pearThe year 1917

These manifestations respond to the concept of “genius” that has become obsolete, while different theorists have presented alternatives such as “co-creation” (Griselda Pollock) or “view“, that is, the” scenario “(Brian Eno), which focuses on a concept of creativity that, far from focusing on individuals in the style of Romanticism, occurs when we see We are given time and space for the original people working together. Current ideas mean the exchange of knowledge and experiences, compared to the static and old age of “intelligence”. which is based on the “magical ignorance” of creation. In fact, art history is currently focusing its attention on the study of “networks”, that is, relationships, as an important element in creation, its development and its dissemination, especially in the case of women, whose cooperation for a long time has been hidden, manipulated and belittled.

Is the monograph exhibition standard followed in such a strict and arbitrary way that in many cases it is not allowed with even a work by another artist to describe the culture and the cultural environment in which this work has been developed?

We find it a real shame that many opportunities are lost as we see in many exhibitions of women in which the brand of the past, and of course used with the intention of praising their work, in fact, left them in a kind of limbo, a no-man’s land, which seems to be another kind of darkness. Did these curators, when making these shows, think that women’s work would be highlighted by placing them next to those of great male artists?… Wasn’t it the opposite? Does María Blanchard’s painting in the Picasso Museum in Malaga pale next to that of Juan Gris or even Pablo Picasso? Is it that Isabel Quintanilla, whose work was recently seen at the Thyssen Museum in Madrid, is less than Antonio López? Will the paintings of Delhy Tejero in the Patio Herreriano Museum in Valladolid lose their close colors of Daniel Vázquez Días or José M.ª Sert? If this is the case, it is still a risk worth taking, and museums, in their infinite wisdom, should publish catalogs and organize forums in which knowledgeable professionals can discuss such sites. interest. But we are not there yet.

Isabel Quintanilla, VasoThe year 1969

Antonio Lopez, LeftoversThe year 1971

Although it is true that this same word is the same in the case of musicians and women, in their case, it is wider and more dangerous, since it allows prejudice about their lives and their work was more extensive, such as is still spreading. They are an appropriate distinction for artists, that is, they are unique examples that will serve to justify the denial of female creativity or lack of originality and the value of their works.

Concealing this problem is the appearance of dishonesty, lack of rigor and lack of appreciation of female players. This comparison will allow us to understand the real value of these creators and, our opinion is, that they will not come out badly, on the contrary, and that the citizens will appreciate the opportunity to judge with their own eyes.

Delhi Tejero, CenaThe dining room of the Hotel Condestable, Burgos, 1932

Daniel Vázquez Diaz, A Poem of Discovery(Conferences or Columbus with the Franciscan fathers), Monasterio de la Rábida (Huelva), 1930