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Referencia: MTAK-71

Author Luis Royo

50.0 x 70.0 cm / 19.69 x 27.56 inch



Watercolor, acrylic with airbrush and oil on paper.

Painted surface 28 x 45 cm (11.02 x 17.72 in ) in a format of 50 x 70 cm (19.69 x 27.56 in)

Year of realization 2015

Signed on the bottom right of the piece.


Work done for the third book of the Malefic Time trilogy, Akelarre. Published inside the author's book, page 71. Published in several languages ​​and distributed internationally.

"Chained now to a wheel of torture, she sees medieval cages with sharp spikes pointing inwards. They contain people covered in blood. A dead body lies in one of them.
The vision fades. She is transported, as if on a journey through time. As if other bodies were her body.
She is in dungeons on the banks of the Seine. Four other ragged prisoners share the cell with her. The prison guards wear the metal helmets and armor of feudal soldiers".
Malefic Time, Akelarre.

As the 20th century progressed, painters such as Wassily Kandinsky and Jackson Pollock abandoned the concept of art as representation altogether, producing canvases that contained no recognizable objects at all. In their “abstract” works, the paint itself became the subject. By the 1960s, conceptual artists—inspired by Marcel Duchamp and other Dadaists of the 1920s—adopted the view that art should aim at the mind, not the eye, turning out paintings in which the idea behind the work was more important than the work itself. With a few obvious exceptions—Pop Art, Photo Realism and artists such as David Hockney—representational or figurative art was largely considered a thing of the past by the end of the 20th century. But in recent years, a number of contemporary painters have begun reaching back to the roots of modern art to find new modes of expression. They are mixing the human figure and other recognizable forms with elements of abstraction and ambiguous narrative in ways not seen before.
“The excitement around my profession right now is tremendous,” says Joachim Pissarro, a curator of painting and drawing at New York’s Museum of Modern Art. “Thirty years ago, there was all this talk of the end of painting. Today nobody cares about that.” For the young generation, he says, “the polarization between abstraction and representation that existed in the last half of the 20th century is just meaningless. What we’re seeing now is very interesting. And totally new.”

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