Room 3

This room features four historical examples of shifts in abstraction, of personal variations on the expressive power of subject matter and gestures. A convulsive gesture that maintains figurative links in the cases of Antonio Saura, whose Dea, 1959, is a brutal imaginary portrait of a woman, and Rafael Canogar, whose painting Raza, dated 1962, could suggest a silent reference to the skinned carcasses of Rembrandt, via Rouault and Soutine. Dark and enigmatic subject matter in Eduardo Chillida´s work Elogio del hierro, 1956, with ancestral connotations, and Luis Feito´s Numero 203, 1960, with telluric and cosmic repercussions.

This exposition ends with two works of muted chromaticism that, despite their clearly figurative affiliation, coincide in a certain sense with this somewhat painful conception of the world, of the past, of history, of life. Painted in 2011, Xisco Mensua's painting Londres, 1940 is based on a photograph of a London library after a German air raid.