Room 10

The three works in this room are clearly committed to painting itself as a starting point.

La Salita, 1970, by Equipo Crónica, is not only a complete demystification of one of the most emblematic works of Spanish art of all time, but also a criticism of royalty, of class differences, in a Spain in which an urban bourgeoisie emerged as a new social status.

Manolo Valdés began his solo career after the death of Rafael Solbes and the dissolution of Equipo Crónica. Rubens como pretext, 1988, keeps quotes as a working tool, but abandons critical irony to focus on the formal synthesis and the adoption of certain resources of Spanish Informalism (hessian, pictorial material and gestures).

In turn, Pentimenti I, 2013, by José Ramón Amondarain, is part of another painting by Velázquez, Las hilanderas, an interpretation of the Greek myth of Arachne disguised as everyday reality. More specifically, a black and white photographic enlargement (or photocopy) that contrasts the original work with its technical reproduction and incorporates both visions in a result of a contemporary pictorial nature.