Eduardo Arroyo, ‘Les derniers jours de Pompéi Madrid’, 1965, Painting, Oil on canvas, Richard Taittinger Gallery
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Eduardo Arroyo

Les derniers jours de Pompéi Madrid, 1965

Oil on canvas
78 7/10 × 59 9/10 in
199.9 × 152.1 cm
.
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Eduardo Arroyo
Spanish, 1937–2018
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Polymathic and largely self-taught, Eduardo Arroyo produces inventive, piquant paintings, sculptures, prints, and stage sets. His career has been shaped by his early years as a journalist and by growing up in General Franco’s Spain, the impetus for his move to Paris in 1958. There, in the midst of avant-gardist experiments with abstraction, he began to paint, creating compositions informed by Realism, Expressionism, and Abstraction. He borrows words and images from a range of sources, including advertisements and graphic design, and quotes the works of other artists in his compositions. With a committed connection to the social and political realities of the world beyond the edges of his canvas, Arroyo uses his art as a platform to lampoon dictators, bullfighters, soldiers, Spanish gentlemen, and even famous artists like Marcel Duchamp and Joan Miró, provoking outrage, delight, and often controversy.

Eduardo Arroyo, ‘Les derniers jours de Pompéi Madrid’, 1965, Painting, Oil on canvas, Richard Taittinger Gallery
Save
Save
View
View in room
Share
Share
Medium
Signature
Sticker label
Certificate of authenticity
Included (issued by gallery)
Eduardo Arroyo
Spanish, 1937–2018
Follow

Polymathic and largely self-taught, Eduardo Arroyo produces inventive, piquant paintings, sculptures, prints, and stage sets. His career has been shaped by his early years as a journalist and by growing up in General Franco’s Spain, the impetus for his move to Paris in 1958. There, in the midst of avant-gardist experiments with abstraction, he began to paint, creating compositions informed by Realism, Expressionism, and Abstraction. He borrows words and images from a range of sources, including advertisements and graphic design, and quotes the works of other artists in his compositions. With a committed connection to the social and political realities of the world beyond the edges of his canvas, Arroyo uses his art as a platform to lampoon dictators, bullfighters, soldiers, Spanish gentlemen, and even famous artists like Marcel Duchamp and Joan Miró, provoking outrage, delight, and often controversy.

Eduardo Arroyo

Les derniers jours de Pompéi Madrid, 1965

Oil on canvas
78 7/10 × 59 9/10 in
199.9 × 152.1 cm
.
Contact For Price
Certificate
Certificate of authenticity
This work includes a certificate of authenticity.
Have a question? Visit our help center.
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