Painting
- Fernando Arrabal has often described himself as a “frustrated painter.” He has produced around fifty canvases, a hundred or so drawings and collages, which have been exhibited in museums such as the Paris Art Center, Musée de Bayeux and the The Villa San Carlo Borromeo Art Museum, Milano.
- Is approach to painting consists of close collaboration with artists who produce large-format oils based on detailed sketches which he provides.
- In 1962, his first such painting was chosen for reproduction in the noted art publication, “La Brèche: Action Surréaliste Revue” by its founding editor, André Breton.
- Currently Fernando Arrabal is collaborating with the sculptor/video artist Christèle Jacob, with whom he has created a dozen videos and photomontage series, including “Les artilleurs des échecs et de la littérature” (The artillery corps of chess and literature), inspired by an artwork by Henri Rousseau (1909), and au “Rendez-vous du Corps des satrapes” (Meeting of the Satrap Association), based on a work by Max Ernst (1922).
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Famous quotes containing the word painting:
“One is conscious of no brave and noble earnestness in it, of no generalized passion for intellectual and spiritual adventure, of no organized determination to think things out. What is there is a highly self-conscious and insipid correctness, a bloodless respectability submergence of matter in manner—in brief, what is there is the feeble, uninspiring quality of German painting and English music.”
—H.L. (Henry Lewis)
“Painting seems to be to the eye what dancing is to the limbs. When that has educated the frame to self-possession, to nimbleness, to grace, the steps of the dancing-master are better forgotten; so painting teaches me the splendor of color and the expression of form, and as I see many pictures and higher genius in the art, I see the boundless opulence of the pencil, the indifferency in which the artist stands free to choose out of the possible forms.”
—Ralph Waldo Emerson (1803–1882)
“The peculiarity of sculpture is that it creates a three-dimensional object in space. Painting may strive to give on a two-dimensional plane, the illusion of space, but it is space itself as a perceived quantity that becomes the peculiar concern of the sculptor. We may say that for the painter space is a luxury; for the sculptor it is a necessity.”
—Sir Herbert Read (1893–1968)