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Maruja Mallo: 50% edge, 50% loudness

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Maruja Mallo: 50% edge, 50% loudness

The Guillermo de Osma Gallery reveals creative process of painter of 'Message of sea' or 'shop window', through emblematic works and unpublished

Maruja Mallo (1902 - 1995) was 50% edge, 50% loudness: a woman advanced of her time, more risky than ir peers and less complacent than rest. All in it was different.

it Was learned, orderly, and methodical, but also transgressive, whirlwind and mystical. You could say that it was a time to be taken in by this character padded to japanese style and with eyes framed in an infinity corner black. And, n, myth began to be increased and attention focused more on mask than in work. "It's funny because ir production was always very thought out and analyzed," explains Juan Pérez de Ayala, commissioner, along with Guillermo de Osma, Order and creation, exhibition dedicated to Guillermo de Osma Gallery to artist. "From age of 30 he was much interested in mamatical order and layout of internal of things." Hence name of sample, since to m universe was ordered through creation.

The exhibition, which will be open to public until 10th of November, runs through very personal plastic world of this painter through emblematic works, as a Showcase (1928) or Message of sea (1937) -that belonged to his friend, architect Antonio Bonet-; and unpublished Stamp (1927), or Masks in diagonal (1951), whereabouts unknown to date. "It's a way of showing ir most intimate," says Pérez de Ayala, who highlighted process of restoration that have experienced some of schemes, writings, and sketches. "Those who have not been presented to public until now, have come to us through chance. We knew that existed because Maruja was photographs of all of his work, but I lost track in 30's".

'Message from sea' (1937) MARUJA MALLO | GUILLERMO DE OSMA GALLERY

One of great contributions of exhibition is an important set of sketches to oil related with ir Heads or Portraits are two-dimensional and ir Masks, virtually unknown. The exceptionality of this group should be to Maruja Mallo always saved se sketches for his great interest and quality, which allows to know in a profound way how was your creative process. To this we must add several drawings of almost 300 that are in your file, where you can see what is basis of oretical and plastic of paint.

Mallo, on his arrival in Madrid in early 20's, she trained with young artists of new art as Salvador Dali. "The Academy of San Fernando gives it such a deep-rooted academic that he always had. She was a woman grown, that he was aware of avant-garde and with a historical baggage very strong." Since n, he began to interact with personalities such as Manuel Altolaguirre, Concha Méndez, Rafael Alberti, María Zambrazo, Pablo Neruda, and José Ortega y Gasset, who organized a exposure in Journal of West, in 1928. "They met through a common friends and, knowing his work, gave him space. Had tremendous success. From this sample until last one, which took place in 1936, y are very, very few contemporary artists with so much support and impact," said commissioner.

'Heads of front and profile' (1945). MARUJA MALLO | GUILLERMO DE OSMA GALLERY

She was always a free woman, independent and who got ir goals bypassing any obstacle and to face everything that is opposed. While it is true that, since childhood, had support of ir parents -especially far-figure, a learned man and liberal who encouraged his artistic side - he was always ahead of m, of cultural life of his time. "With passing of years became a legend and his character began to eat as an artist is rigorous, serious and important". Your loving relationships with Rafael Alberti and Miguel Hernández made bigger, even if it is, myth. "Your boyfriend was an official Alberti. The two are influenced a lot artistically. So it speaks of footprint of Maruja in Sermons and purple, where you write without quote. Later, he dedicated a letter where he asks for forgiveness for having forgotten her".

Since n, modernity of his work corresponded to ir transgressive personality. In 1932 he exhibited at Galerie Pierre in Paris, where André Breton bought him a box. During his exile in Buenos Aires between 1937 and 1962 he exhibited in New York (1948), back in Paris (1950) and Buenos Aires (1957). On his return to Spain, he found a country that had forgotten and despite this was able to recover his prestige. In 80's, figure of Maruja Mallo was recovered by younger generations of critics and artists of Madrid, and among collectors highlights singer Madonna. "Maruja", he adds, "was very well herself. I had very well understood what was art and form of exposure". However, just came back to paint until his death in 1995.

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