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05/11/2019 19:55 (UTC)

SPAIN ART

Reina Sofia Museum looks back at the legacy left by Campano, the painter of a thousand styles

Madrid, Nov 5 (EFE).- Miguel Ángel Campano, one of the key figures of the so-called renovation of the Spanish art in the 1980s, spent four decades painting with passion and devotion, during which he experimented with a myriad of styles, and which is now the subject of an exhibition at the Reina Sofia Museum.

"The exhibition, more than a retrospective, is a collection," Reina Sofía Museum Director Manuel Borja-Villel said on Tuesday during the presentation of "D'après", the exhibition dedicated to Campano, who had a powerful personality and died last year.

SHOT LIST: FOOTAGE OF THE EXHIBITION AND SOUND BITES OF EXHIBITION CURATOR BEATRIZ VELÁZQUEZ AND REINA SOFÍA MUSEUM DIRECTOR MANUEL BORJA-VILLEL

BEATRIZ VELÁZQUEZ “The title “D’après” is a French expression that Campano often used and we have used it first as a nod to the almost 25 years Campano spent in France working. He also painted “d’après” another painter. He painted “d’après” Poussin or “d’après” Cézanne. He always painted according to what the previous one has painted. Campano operated from what art history had left on display by the artists, then he operated “d’après” Poussin, he operated “d’après” Delacroix or “d’après” Cézanne. But this "d’après" is not so much an “according” to the painter that is addressed at all times, but rather in Campano it is always a “starting point” from the painter at each moment. "The Flood" according to Poussin, "The Flood" "d’après" Poussin is at the heart for Campano a way to start with Poussin and make his own painting. Campano also raised a question that must be very complex, which is to paint nature, to paint “d’après nature,” according to nature, which is really contradictory to his own terms.”

MANUEL BORJA-VILLEL “We are before a painter who analyzes, who sees paintings, for whom paintings were performative in the sense that paintings are like poems that make sense when you read them. In all these works there is an element of repetition, there is a continuous gesture that appears again and again but this gesture is always different just like the reading of any poem, it is always the same and it is always different. And in that …”

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