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'''Eduardo Arroyo Rodríguez''' (26 February 1937 – 14 October 2018)<ref>[http://www.elmundo.es/cultura/2018/10/14/5bc31d3f268e3e0c668b4574.html Muere el pintor Eduardo Arroyo a los 81 años de edad] {{in lang|es}}</ref> was a [[Spain|Spanish]] [[painting|painter]] and [[graphic arts|graphic artist]]. He was also active as an [[author]] and [[scenic design|set designer]].
'''Eduardo Arroyo Rodríguez''' (26 February 1937 – 14 October 2018)<ref>[http://www.elmundo.es/cultura/2018/10/14/5bc31d3f268e3e0c668b4574.html Muere el pintor Eduardo Arroyo a los 81 años de edad] {{in lang|es}}</ref> was a [[Spain|Spanish]] [[painting|painter]] and [[graphic arts|graphic artist]]. He was also active as an [[author]] and [[scenic design|set designer]].


Arroyo, who was born in [[Madrid]], studied art in his home city, but left Spain in 1958 because of his basic contempt for [[Francoist Spain]], came to terms with [[Francisco Franco]] in his old age, Arroyo later described him as a "whore" and even lost his Spanish citizenship in 1974 (which he got back two years later, a year after the death of the ''Caudillo''). In [[Paris]], he befriended members of the young art scene, especially [[Gilles Aillaud]], with whom he later collaborated in creating stage sets, but also the old master, [[Joan Miró]]. In 1964, he made his breakthrough with his first important exhibition. Over 20 years of great critical success and high esteem on the art market followed. In his old age, the ideologically and creatively uncompromising artist was as active as ever, even if it had seemed to have become somewhat quieter around his creations.
Arroyo, who was born in [[Madrid]], studied art in his home city, but left Spain in 1958 because of his basic contempt for [[Francoist Spain]], came to terms with [[Francisco Franco]] in his old age, Arroyo later described him as a "whore" and even lost his Spanish citizenship in 1974 (which he got back two years later, a year after the death of the ''Caudillo''). In [[Paris]], he befriended members of the young art scene, especially [[Gilles Aillaud]], with whom he later collaborated in creating stage sets, such as ''Vivre et laisser mourir ou la fin tragique de Marcel Duchamp'', a work in eight pieces intended to [[criticize]] the [[Contemporary history|contemporary]] [[French art]].<ref name=":02">{{Cite book|last=Institut Valencià d'Art Modern|url=https://www.worldcat.org/oclc/1241664690|title=50 obras maesstras de la Colección del IVAM : 1950-2000|date=2019|publisher=[[Institut Valencià d'Art Modern]]|others=Rocío. Robles Tardóo|isbn=978-84-482-6416-1|location=València|oclc=1241664690}}</ref> But also befriended the old master, [[Joan Miró]]. In 1964, he made his breakthrough with his first important exhibition. Over 20 years of great critical success and high esteem on the art market followed. In his old age, the ideologically and creatively uncompromising artist was as active as ever, even if it had seemed to have become somewhat quieter around his creations.


Stylistically, Arroyo's mostly ironic, colorful works are at the crossroads between the trends of ''[[nouvelle figuration]]'' or ''[[figuration narrative]]'' and [[pop art]]. A characteristic of his representations is the general absence of spatial depth and the flattening of perspective.
Stylistically, Arroyo's mostly ironic, colorful works are at the crossroads between the trends of ''[[nouvelle figuration]]'' or ''[[figuration narrative]]'' and [[pop art]].<ref>{{Cite book|last=Preckler|first=Ana María|url=https://books.google.es/books?id=MJ_edWCq2UoC&pg=PA363&dq=%22Vestido+bajando+la+escalera%22&hl=ca&sa=X&ved=2ahUKEwij4o_CmaHyAhWYA2MBHa-SDhcQ6AEwAnoECAoQAg#v=onepage&q=%22Vestido%20bajando%20la%20escalera%22&f=false|title=Historia del arte universal de los siglos XIX y XX|date=2003|publisher=Editorial Complutense|isbn=978-84-7491-707-9|language=es}}</ref> A characteristic of his representations is the general absence of spatial depth and the flattening of perspective.


Arroyo also became known to a broad public through his many works as a set designer, as well as partially by his [[costume design]]s. In this relation, he cooperated since 1969 especially with the director [[Klaus Michael Grüber]], who encouraged him in this activity. Arroyo created sets for, among others, the [[Piccolo Teatro (Milan)|Piccolo Teatro]] in [[Milan]], the [[Palais Garnier|Paris Opéra]] (in 1976, [[Richard Wagner]]'s ''[[Die Walküre]]''), the ''[[Schaubühne am Lehniner Platz]]'' in [[Berlin]] and the ''[[Salzburg Festival|Salzburger Festspiele]]'' (in 1991, [[Leoš Janáček]]'s ''Z mrtveho domu'').
Arroyo also became known to a broad public through his many works as a set designer, as well as partially by his [[costume design]]s. In this relation, he cooperated since 1969 especially with the director [[Klaus Michael Grüber]], who encouraged him in this activity. Arroyo created sets for, among others, the [[Piccolo Teatro (Milan)|Piccolo Teatro]] in [[Milan]], the [[Palais Garnier|Paris Opéra]] (in 1976, [[Richard Wagner]]'s ''[[Die Walküre]]''), the ''[[Schaubühne am Lehniner Platz]]'' in [[Berlin]] and the ''[[Salzburg Festival|Salzburger Festspiele]]'' (in 1991, [[Leoš Janáček]]'s ''Z mrtveho domu'').
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Arroyo's stage play, ''Bantam'', premiered at the ''[[Bayerisches Staatsschauspiel]]'' (''[[Residenztheater]]'') in [[Munich]] with great success in 1986, with his friend, Grüber, as director and Ailland and [[Antonio Recalcati]] for sets and costumes.
Arroyo's stage play, ''Bantam'', premiered at the ''[[Bayerisches Staatsschauspiel]]'' (''[[Residenztheater]]'') in [[Munich]] with great success in 1986, with his friend, Grüber, as director and Ailland and [[Antonio Recalcati]] for sets and costumes.


Arroyo's paintings are showcased at the [[Museo de Arte Contemporáneo (Madrid)|Museo de Arte Contemporáneo]] in Madrid.<ref name="Saatchi">[http://www.saatchi-gallery.co.uk/museums/museum-profile/Museo+De+Arte+Contemporáneo+(museosdemadrid.+Arte+Contemporáneo)++++++/778.html Museo de Arte Contemporáneo [[Saatchi Gallery]] Official web site]</ref>
Arroyo's paintings are showcased at the [[Museo de Arte Contemporáneo (Madrid)|Museo de Arte Contemporáneo]] in Madrid.<ref name="Saatchi">[http://www.saatchi-gallery.co.uk/museums/museum-profile/Museo+De+Arte+Contemporáneo+(museosdemadrid.+Arte+Contemporáneo)++++++/778.html Museo de Arte Contemporáneo [[Saatchi Gallery]] Official web site]</ref> His most renowned work, ''[[Vestido bajando la escalera]]'', belongs to the collection of the [[Institut Valencià d'Art Modern]], in [[Valencia|València]].<ref name=":02" /><ref>{{Cite web|last=Rodríguez Gimeno|first=Rafa|date=2019-05-22|title=IVAM, 30 años en 10 obras (III): Eduardo Arroyo|url=https://verlanga.com/exposiciones/ivam-30-anos-en-10-obras-iii-eduardo-arroyo/|url-status=live|access-date=2021-08-08|website=[[Verlanga]]|language=}}</ref>


== References ==
== References ==

Revision as of 07:35, 9 August 2021

For the Bolivian sport shooter, see Eduardo Arroyo (sport shooter). For the Ecuadorian painter, see Eduardo X Arroyo.
In this Spanish name, the first or paternal surname is Arroyo and the second or maternal family name is Rodríguez.
Commemorative plaque to Eduardo Arroyo in Madrid

Eduardo Arroyo Rodríguez (26 February 1937 – 14 October 2018)[1] was a Spanish painter and graphic artist. He was also active as an author and set designer.

Arroyo, who was born in Madrid, studied art in his home city, but left Spain in 1958 because of his basic contempt for Francoist Spain, came to terms with Francisco Franco in his old age, Arroyo later described him as a "whore" and even lost his Spanish citizenship in 1974 (which he got back two years later, a year after the death of the Caudillo). In Paris, he befriended members of the young art scene, especially Gilles Aillaud, with whom he later collaborated in creating stage sets, such as Vivre et laisser mourir ou la fin tragique de Marcel Duchamp, a work in eight pieces intended to criticize the contemporary French art.[2] But also befriended the old master, Joan Miró. In 1964, he made his breakthrough with his first important exhibition. Over 20 years of great critical success and high esteem on the art market followed. In his old age, the ideologically and creatively uncompromising artist was as active as ever, even if it had seemed to have become somewhat quieter around his creations.

Stylistically, Arroyo's mostly ironic, colorful works are at the crossroads between the trends of nouvelle figuration or figuration narrative and pop art.[3] A characteristic of his representations is the general absence of spatial depth and the flattening of perspective.

Arroyo also became known to a broad public through his many works as a set designer, as well as partially by his costume designs. In this relation, he cooperated since 1969 especially with the director Klaus Michael Grüber, who encouraged him in this activity. Arroyo created sets for, among others, the Piccolo Teatro in Milan, the Paris Opéra (in 1976, Richard Wagner's Die Walküre), the Schaubühne am Lehniner Platz in Berlin and the Salzburger Festspiele (in 1991, Leoš Janáček's Z mrtveho domu).

In 1982 he received Spain's National Award for Plastic Arts.[4]

Arroyo's stage play, Bantam, premiered at the Bayerisches Staatsschauspiel (Residenztheater) in Munich with great success in 1986, with his friend, Grüber, as director and Ailland and Antonio Recalcati for sets and costumes.

Arroyo's paintings are showcased at the Museo de Arte Contemporáneo in Madrid.[5] His most renowned work, Vestido bajando la escalera, belongs to the collection of the Institut Valencià d'Art Modern, in València.[2][6]

References

  1. ^ Muere el pintor Eduardo Arroyo a los 81 años de edad (in Spanish)
  2. ^ a b Institut Valencià d'Art Modern (2019). 50 obras maesstras de la Colección del IVAM : 1950-2000. Rocío. Robles Tardóo. València: Institut Valencià d'Art Modern. ISBN 978-84-482-6416-1. OCLC 1241664690.
  3. ^ Preckler, Ana María (2003). Historia del arte universal de los siglos XIX y XX (in Spanish). Editorial Complutense. ISBN 978-84-7491-707-9.
  4. ^ Martínez Novillo, Álvaro (July–August 1983). "Los Premios Nacionales de Artes Plásticas" [The National Awards for Plastic Arts]. Cuenta y Razón (12). Retrieved 2019-06-21.
  5. ^ Museo de Arte Contemporáneo Saatchi Gallery Official web site
  6. ^ Rodríguez Gimeno, Rafa (2019-05-22). "IVAM, 30 años en 10 obras (III): Eduardo Arroyo". Verlanga. Retrieved 2021-08-08.{{cite web}}: CS1 maint: url-status (link)
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