4-9 October 2016
Mayoral is delighted to present "Venus" at PAD London:
In this artistic project we present paintings, drawings and sculptures by a constellation of first-rate artists like Miró, Picasso, Chagall, Torres García, Dalí, Laurens, Gargallo, J. González and Saint Phalle. All of them, in a general way, identify Venus with every woman: wife, lover, artist, worker, child, mother, muse... and they represent them in a symbolic, grotesque, carefree, ironic, poetic, surrealist, artificial or schematic way.
Venus is the female divinity, the goddess of love, the goddess of beauty, the image of natural origin and of life, the divinity of motherhood. It is also associated with desire and the woman as such. The goddess figure has been immortalised by many painters of all times; Venus has been admired, imagined, painted, sculpted, engraved, dreamed. In the mind of the artists we present, the Venus figure underwent different transformation processes, giving as a result a series of very varied and dynamic works. Taking the image of Venus as a point of departure, the artists’ imagination creates personal, poetic and bold representations, in which the different qualities of the woman flow: beauty and ugliness, voluptuousness and sensuality, obscenity and purity.
Through his Portrait of Dora Maar (1942) —his lover from 1936 to 1943—, Picasso shows a plural and private woman by creating a balance between elements of his cubist and Guernica styles. With Women V (1969), Miró leads the spectator into a symbolic and poetic world by using a vibrant and forceful line. On the other hand, Niki de Saint Phalle, with Sphinx - The Empress (1983), culminates the total representation of the Venus concept in itself, a woman artist who sculpts a curvy woman like a sphinx and an empress, as indicated by the title. Through shapes and colours, she causes a totally intentional visual impact in order to give women a place in society and art. Marc Chagall, with Horsewoman with Fan in a Green Rooster (1935), combines a daring colour palette, fauve and with a deliberately ambiguous and flat distribution of the space. With Anatomies (1937), Salvador Dalí dismembers the Venus concept by showing that the beauty of the body is temporary and will eventually disappear, whereas the beauty of art is timeless and everlasting.