“The three ladies”

 

 

 

Luis Seoane
Argentina-España, 1910–1979


The three ladies, 1974

Oil con canvas
88 x 115 cm

Ralli Collection

 

Women as a constant

Luis Seoane resorts to female representation as a constant in his work, be it to refer to the social situation in post-war Galicia, through their robust bodies and sharp features; as an allegory of the mother-earth, the "Mater Galleciae"; or in works where the artist’s focus is on experimentation and plastic and formal development.

With his portrayal of these figures, Seoane communicates a message from a society (repressed, impoverished, postwar), a culture (Galician) and a language (his own contemporary artistic language).

The three ladies

In this piece of work the artist represents static figures who appear to be waiting, standing next to the sea. Three robust women, with large hands and broad shoulders, are engrossed in conversation on the seashore. Two of them are depicted in profile while the third seems to be staring at the observer. The way they are represented is seen very frequently in Seoane's work: they are a symbol of all those people who waited, and some of whom are still waiting, to see the return of their relatives who had to emigrate or went to war.

Simplification as a language

We can see the simplification of forms in his language, combined with the use of a reduced colour palette and pure colours. He composes figures and spaces based on flat coloured marks and makes use of black in the form of lines to delimit certain volumes. The flat figures stand out against an intense blue and ochre background that is also flat. Three stripes in just two colours divide the space into land, sea and sky. The scene dispenses with any anecdote or decorative element; it goes straight to the essence of form, colour and message.

This is a piece of work from his late stage in which lyricism and compositional harmony dominate the scene, leaving aside his more abstract and expressionist side.

“Figure in violet”

Figura en violeta de luis Seoane

 

 

 

 

 

 

Luis Seoane
(1910, Argentina – 1979, Spain)


Figure in violet, 1970

Serigraphy
Ed. 9/50
55 x 37 cm

Ralli Collection

 

From simplification to abstraction

In his artistic career and his path to schematism, Luis Seoane comes close to abstraction. In a process of simplification and purification of elements such as shape, colour and drawing, he resorts to geometry and creates compositions based on flat colours; marks of colour that work autonomously and independently from the lines, which continue to appear as black strokes.

This independent use of colour and line in a certain way derives from his previous work in engraving, and he uses them similarly both in his graphic and his plastic work.

In "Figura en violeta" we see the use of this refined language thanks to the screen printing technique. This technique allows the artist to work with a cleaner finish of colours, which are completely flat.

Beyond the form

In this image we also see a double game, a double image, like a nod to the duality of its language. On the one hand, the shape formed by patches of colour presents a figure seen from the front, with what appears to be a hat or fruit bowl on the head. In addition, inside the face of this figure we can appreciate the profiles of two figures, one male and one female, who are about to kiss. The frontal figure is represented from the bust upwards, based on geometric shapes and patches of violet and white, combined with some black lines and on a pinkish background. We can only see the shape of the profiles of these latter two faces, created from a thin black line, without using patches or any other colour. The figurative aspect of the artist, which is always present, is clearly captured here without ever losing sight of the motive, even in his most abstract works.

New Temporary Exhibition “SEOANE. Portraits”

Nueva Exposición SEOANE. Retratos en Museo Ralli

Luis Seoane, argentinian by birth, Galician in his heart, Seoane divides his life and artistic career across both lands, being significantly influenced by them both equally.

This exhibition brings us the point of view and expression of an artist who has combined literature, illustration, engraving, painting, longing and struggle to develop a unique artistic language.

Through the use of this theme, SEOANE. Portraitsshows the variety of languages developed by the artist, whose career to schematization takes him occasionally to the border of geometrical abstraction.

  • Cartel Exposición Seoane. Retratos en Museo Ralli Marbella
    cartel-exposicion-seoane-retratos-museo-rallimarbella

International Day of Museums 2019

International day museum 2019 18 may
International day museum 2019 18 may

We invite you to celebrate with us the International Day of Museums, on Saturday, May 18th

Free activities and workshops for all ages.

Guided visits (only in Spanish) to the permanent collection and the temporary exhibition "Movimiento Espartaco"

Schedule of visits:

  • Permanent collection: 11:00 h
  • Temporary exhibition "Movimiento Espartaco" : 12:00 h
  • Permanent collection: 13:30 h
  • Cartel día internacional de los museos
    cartel-dia-internacional-museos

The legacy of Harry Recanati: the Ralli Collection

Celebrating the centenary of his birth

In 2019 we will commemorate the centenary of the birth of Harry Recanati, founder of the Ralli Museums, and we would like to honour him through a very special exhibition programme.

These are works and artists with a special relevance in the history of the museums, as well as for Harry Recanati as a collector and patron. A clear example of this would be the relationship that two of the four exhibits have with Surrealism, a movement that has a special presence in the Ralli Collection due to the founder’s passion and predilection for this style.

The Ralli Collection worldwide

The Ralli Museum of Caesarea, in Israel, is exhibiting “René Magritte, daily dreams”, an individual exhibition of engravings by the Belgian artist that has travelled from Chile and that will rotate to the rest of the Ralli Museums.

The exhibition housed in the Ralli Museum in Uruguay’s Punta del Este, shows works with a religious theme from the Russian artist Marc Chagall (entitled “Marc Chagall, design of the 12 windows of Jerusalem). This exhibition is significant given the Jewish and Israeli origin of Harry Recanati.

In Santiago de Chile we find a sample of abstract art through the exhibition Kinetic and Geometry, under the optics of the Ralli Collection, which exemplifies the more conceptual and abstract side of the Ralli Collection.

In Marbella, the exhibitionSpartacus Movementpromotes the recovery and vindication of a group of Argentine artists, work to which Harry Recanati devoted a substantial part of his life and the reason why he founded these museums.

Each of the museums has different schedules and activities, which we invite you to review in their web pages.

Admission to all of them is completely free of charge.

Musical Poetry Recital with “Grupo Cero”

  • CANCELADO

The poets of Grupo Cero will be at the Ralli Museum Marbella with poems and songs by the poet Miguel Oscar Menassa, founder of the scientific and cultural group Grupo Cero, painter of Psychic Realism and candidate for the Nobel Prize for Literature in 2010.

We will enjoy poems by Menassa set to music, in the voice of the Spanish-French singer Clémence Loonis. And in the voice of members of the Grupo Cero poetry workshops, we will hear recited poems that include a selection of the poet’s extensive poetic oeuvre.

FREE ADMISSION UNTIL VENUE IS FULL

Ralli Museum Marbella

Urb. Coral Beach, Rio Verde, N-340, km. 176, 29602 Marbella, Málaga

Organised by: Helena Trujillo - Grupo Cero

Collaborate: Ralli Museum Marbella

For more information, call: 952 85 79 23

 

New Room “Graphic works from Latin America”

Luis Solari - Previo
Luis Solari - La barca de "no sé" - 1978

Luis Solari
Uruguay, 1918-1993

The boat of “who knows”, 1979
Xilography
Ed. AP
50 x 70 cm

Ralli Collection

More than a technique, a means of concrete expression

As of May 2 in the hall 9

In the contemporary proposals offered by Latin American art from the 1960s and beyond, engraving and drawing triumphed as a technique and a means of expression that was equivalent or superior to other technological and experimental media which were being seen in Europe, North America and Japan. This recovery of a traditional technique with more accessible production and capacity for dissemination is a response to the concerns and needs of artists and the public. In this way, they sought to democratise art and place it at the service of citizens, as was already being done through muralism and art in public spaces.

The choice of these techniques must be seen as a declaration of intentions, putting the communicative function of art and accessibility before that of the elitist development that was taking place overseas.

Drawing therefore took on great depth and meaning. Engraving became a strong manifestation with identity and the profound development of the technique. The mass reproduction of graphic works made it possible to take art to the most disadvantaged sectors, with the development of the poster being of considerable importance during this period.

As a paradigm of this aspect of Latin America art, works by the Uruguayan Luis Solari, the Mexicans José Luis Cuevas and Emilio Toledo, and the Peruvian Luis Sifuentes are displayed in this room.

  • Luis Solari
    (Uruguay, 1918-1993)
    “If the shoe fits, wear it”, 1978
  • Francisco Toledo
    (México, 1985)
    “Woman with scorpions”, 1985

“Caronte”

Caronte - Deira

Ernesto Deira
Argentina, 1928-1986

Caronte, 1985
Acrylic on fabric
160 x 200 cm

Ralli Collection

Ernesto Deira

Argentine artist of the New Figuration movement (or Neo-figurative art). Together with Luis Felipe Noé, Rómulo Macció and Jorge de la Vega, he was part of the Otra Figuración group (“Other Figuration”), which was the name given to their first collective exhibition in 1961.

This homogenous and diverse group lasted in this form until 1965, with the artists continuing to follow the principles of Neo-figurative art individually in their work.

Formally speaking, what unites the group is the representation of the human figure from an existentialist point of view. As Noé himself states, their way of working did not suggest a return to figuration, but rather an alternative. The human figure is included within an artistic setting where informal art prevailed, be it Expressionist or abstract. They take their language from Informalism but become removed from this movement by including references to the human figure.

Expressive informalism and protagonism of color

Ernesto Deira takes aspects from Informalism and Expressionism that allow him to play with the matter, forms and colour, to distort the figure, representing Man in his most destructive aspect.

Despite the chaotic appearance of his works, Deira took extreme care in their composition and colours, using them both to transmit a sense of restlessness and anguish.

"Caronte", a ticket to the other riverbank

In the work before us, entitled “Caronte” which can be translated to “Charon”, the colour red merges between the background and the figure, which we can just about distinguish thanks to a fine line drawn by the artist and detailed chromatic changes in the figures. Other geometric forms intermingle on the canvas next to this large patch of red, forming in turn part of the human figures represented. In this work we can distinguish human forms, or parts of them, which move and are arranged on the canvas as if they were in a state of limbo (without gravity, without coherence, without narrative; they are merely suspended beings immersed in a red space).

As we mentioned earlier, the use of colour and forms always directs us towards a composition in which the human figure is present. Beyond the figurative and material references, we can discern the subject from the title. In Greek mythology, Charon, which literally means “fierce brightness”, was the ferryman of Hades, responsible for transporting the souls of the dead to the other side of the River Acheron in exchange for a Greek coin called an obolus. If they could not pay the fee they were condemned to wander the shores for one hundred years until Charon would agree to take them at no charge (this myth is the origin of the Greek tradition of burying bodies with a coin under their tongue).

 

SEOANE. Portraits

Seoane - Previo
Luis Seoane, Figura en violeta

 
Luis Seoane
Argentina, 1910-1979

Figure in violet, 1970
Serigraphy
Ed. 9/50
55 x 37 cm

Ralli Collection

Luis Seoane

Argentinian by birth, Galician in his heart, Seoane divides his life and artistic career across both lands, being significantly influenced by them both equally.

This exhibition brings us the point of view and expression of an artist who has combined literature, illustration, engraving, painting, longing and struggle to develop a unique artistic language.

Particularly influenced by Joaquín Torres García, Léger and Picasso, Seoane creates his own approach to the plastic arts, in which the simplification of forms and figures prevails, along with the use of pure and vigorous colours.

One constant in his work

Alongside this, other features of Seoane’s work are the repetition of themes like the female form, a demand for social justice, rural Galicia, and the sea ever-present in the background as a constant feature. He depicts working, rural women, as well as those from the city (including his own wife), women who are suffering. The sea is a device used to connect the two continents, this being a common sight both in the Galicia that saw him grow up, and in the Argentina that saw him become an artist.

Predominant amongst his depictions of female figures are those that are shown in a passive attitude, at rest or waiting, whether portraits or full-length figures, situated outdoors, by the sea. By this theme in Seoane’s work, we are reminded of the mothers, wives, sisters and daughters of those who had to fight in the Spanish civil war or had to emigrate, those who they were waiting to see return, as he hoped that Galicia would see him return.

Throughout his artistic career, the repetition of these feminine motives serves him also as a projection of his personal experimental development, both plastic and linguistic. Even though it continues to be the same theme, the use of schematization and plain colours prevail over the motive.

Through the use of this theme, “SEOANE. Portraits” shows the variety of languages developed by the artist, whose career to schematization takes him occasionally to the border of geometrical abstraction.

  • Luis Seoane - Tres figuras
    Luis Seoane
    (Argentina, 1910-1979)
    “Three figures”, 1970
  • Luis Seoane
    (Argentina, 1910-1979)
    “Face”, 1970
  • Luis Seoane - Dos mujeres sentadas
    Luis Seoane
    (Argentina, 1910-1979)
    “Two women sitting”, 1974
  • Luis Seoane - Figura en amarillo
    Luis Seoane
    (Argentina, 1910-1979)
    “Figure in yellow”, 1970

Graphic works from Latin America

Luis Solari - Previo
Luis Solari - La barca de "no sé" - 1978

Luis Solari
Uruguay, 1918-1993

The boat of “who knows”, 1979
Xilography
Ed. AP
50 x 70 cm

Ralli Collection

More than a technique, a means of concrete expression

As of May 2 in the hall 9

In the contemporary proposals offered by Latin American art from the 1960s and beyond, engraving and drawing triumphed as a technique and a means of expression that was equivalent or superior to other technological and experimental media which were being seen in Europe, North America and Japan. This recovery of a traditional technique with more accessible production and capacity for dissemination is a response to the concerns and needs of artists and the public. In this way, they sought to democratise art and place it at the service of citizens, as was already being done through muralism and art in public spaces.

The choice of these techniques must be seen as a declaration of intentions, putting the communicative function of art and accessibility before that of the elitist development that was taking place overseas.

Drawing therefore took on great depth and meaning. Engraving became a strong manifestation with identity and the profound development of the technique. The mass reproduction of graphic works made it possible to take art to the most disadvantaged sectors, with the development of the poster being of considerable importance during this period.

As a paradigm of this aspect of Latin America art, works by the Uruguayan Luis Solari, the Mexicans José Luis Cuevas and Emilio Toledo, and the Peruvian Luis Sifuentes are displayed in this room.

  • Luis Solari
    (Uruguay, 1918-1993)
    “If the shoe fits, wear it”, 1978
  • Francisco Toledo
    (México, 1985)
    “Woman with scorpions”, 1985