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Humor drawing metaphor = Ramón Gómez de la Serna

An exhibition gathers 100 of the Greguerias that the writer illustrated in the 1930s for publication in press

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Humor   drawing   metaphor = Ramón Gómez de la Serna
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Next to ink Dibujillo of two elegant types that pull each one of strings of a bag to close it, it is said: "When we read closing of bag we imagined two gentlemen with a hat that pull shoelaces of a bag and strangle its closure." This spark of metaphor and humour in a sentence, accompanied sometimes by a drawing, was great literary invention of writer Ramón Gómez de la Serna (Madrid, 1888-Buenos Aires, 1963), Greguerias. Prolific, multifaceted, excessive... The museum ABC, in Madrid, exhibits until June 17, 100 Greguerias illustrated that author of Automoribundia (1948) published in Black and white magazine between July 1930 and July 1935. The exhibition is accompanied by a delicate catalogue of almost 500 pages that documents 314 that center treasures.

The curator of exhibition and director of Museum, Immaculate Cork, notes that " Greguerias dot all production of Gómez de la Serna, including in essays, articles, novels, but when published in this case in a magazine wrote longer texts, to Better explain drawing to readers. " These simple strokes were published on a double page and in groups of six or eight, without fixed periodicity. They reflect "great formula that Gomez de la Serna found to launch thoughts in an original way," he adds. "They are sparkling notes, a conceptual exercise settled in laughter." In words of author himself, y were a combination of "humorism more metaphor" that collect "what beings cry out confusingly from ir unconsciousness, what y shout things."

Cork explains that, normally, Ramon's creation process — so he liked to be called — was beginning with text. "The illustrator of se drawings was not going to be him, but he told editor that if he had to explain to artist what he wanted to convey, he would always have something on way." So soul of Tertulia of Madrid's Café de Pombo took pen to draw his thoughts, but not as a mere decorative motifs, but as a complement to understand all irony and absurdity of brief texts. In its line re is no great beauty or detail, Ramon himself calls it "drawing of a writer, not drawing of draughtsman", but fulfill its end: Help to understand his message to readers who did not have to be familiar with ir humor.

Among illustrated Gregueriass, always friendly and elegant, re are emerged from his impressions in his travels from those years to Paris and Berlin. An example of this genius is "graphic difference between Germany and Spain", expressed with a string of sausages and under one of Churros, which writer describes as "skinny and counterfeit sausages". Gómez de la Serna also began to tread Argentine soil and Buenos Aires would make his definitive residence after leaving Spain in early days of Civil war.

It is inevitable to think how many Greguerias would have emerged today from Gómez de la Serna's imagination in times of 280 characters of Twitter and or social networks. "Zoo turtles are like large sewer stones that would have swelled" (93 characters). However, his genius went furr, author of a hundred works, between novel, ater, Tales, Radio Monologues... was great introducer of literary avant-garde in Spain. His work was also to create his own character, that of that man pudgy, almost always with bow tie and smoker in Pipa, who gave a lecture on jazz with face and hands painted in black, or presented his book The Circus uploaded in a trapeze , as photographs accompanying exhibition attest. Seen today, illustrated Greguerias of Gómez de la Serna invite a smile, for its naif humour and delicacy, as drawing of salsa that welcomes in its interior a small one with a text that reads: "In salsa mayonnaise and vinaigrette are recosted , as a child y rock in ir sweet cradle. "


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