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THE THOUSAND FACES OF LILITH 6

Referencia: MTAK-65

Author Luis Royo

70.0 x 100.0 cm / 27.56 x 39.37 inch

€12,000.00
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ILLUSTRATION

Watercolor, acrylic with airbrush and oil on paper.

Painted surface 50 x 89 cm (19.69 x 35.04 in ) in a format of 70 x 100 cm (27.56 x 39.37 in)

Year of realization 2014

Signed on the bottom left of the piece.

 

Work done for the third book of Malefic Time trilogy, Akelarre. Published inside the autor's book, page 65. Edited in several languages and distribuited internationally.
Work done on a large support, where the painter wants to capture the attention in the delicate and beautiful expression of Lilith. This is one of the pictorial pieces by Luis Royo, where he shows us a much more loose line than usual, closer to painting than to illustration. Following the line of Luis shows us a refined sensuality and in this image in particular an interesting color game.

Figurative painting, it seems, is destined to be the perennial fixture of contemporary art: always up for an adventure, never for long. The last time one could admit one's passion without committing social suicide in the art world was probably around 2003, when painter John Currin held his midcareer survey at the Whitney Museum of American Art , in New York. Currin, known for injecting new ideas into old images of the body, was handsome, successful and youthful. His peers were also of the moment: Elizabeth Peyton rubbed shoulders with Marc Jacobs , and George Condo teased collectors with obscene portraiture. The year before Currin's retrospective, an exhibition curated by Alison Gingerasat the Pompidou Center, Paris, "Dear Painter, Paint Me ... Painting the Figure since the Last Picabia," had opened to acclaim. As critic Roberta Smith observed in The New York Times, "reports of the death of painting have been exaggerated for some 30 years."

"The body in crisis is increasingly present in our everyday lives," notes MoMA PS1 curator and associate director Peter Eleey, who headed the 2015 curatorial team for "Greater New York." "Whether it's in reference to the refugee situation"-he didn't specify which, but there are many-"or the way the media is processing Black Lives Matter, abstraction has been comfortable-for us. But it doesn't shape the discomforts and questions that I think many of us are grappling with." Deitch remembers that, and adds, "This is not a time when a heavy Mark Rothko painting about myth is relevant." That figurative painting allows for more diverse cultural content (clothing, skin color, environment) than abstraction.


W - Fan Zhong

"A hypnotic pendant filled with smoking moss, the same one worn around the neck of the witch priestess in the cave, and which in turn also hangs swaying from Lilith’s hand, wafts me out of her presence. I blink again. I am no longer in Irkalla, although I know that my mind is not in quite the same place as my body."

Malefic Time, Akelarre.

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