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EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003)."Monumentalis Podicis", 1977.
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Description
EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003).
"Monumentalis Podicis", 1977.
Folder with 9 silkscreen prints, copy 11/100.
Signed, dated and numbered by hand.
Measurements: 94 x 66 cm.
Eduardo Úrculo's artistic imaginary was defined by a series of recurring themes: hats, suitcases, self-portraits of travellers wearing hats, kisses inspired by cinema and, above all, buttocks. The latter, which Mario Vargas Llosa called "Úrculo's marvellous asses", became one of the pop artist's most famous themes, becoming the true protagonists of his most famous works.
A painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began to paint as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly afterwards he moved to Madrid, and began to take classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a style of painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence led his painting to evolve towards abstraction. Four years later, however, he returned to figuration and social criticism. In 1967 he made a trip to northern Europe, and it was then that he first came into contact with American pop art. Since then, Úrculo's work has been marked by a realism based on vivid colour and, in the 1970s, by erotic, satirical and critical themes. In the 1980s he lived in New York, where he carried out important artistic projects. In 1992 he returned to Paris. In the latter period he added to his repertoire the theme of the traveller confronted with the great modern city, an ironic variant of the figure of the romantic in awe of the landscape. This formal evolution could be seen through the numerous individual exhibitions he held since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, among others.
"Monumentalis Podicis", 1977.
Folder with 9 silkscreen prints, copy 11/100.
Signed, dated and numbered by hand.
Measurements: 94 x 66 cm.
Eduardo Úrculo's artistic imaginary was defined by a series of recurring themes: hats, suitcases, self-portraits of travellers wearing hats, kisses inspired by cinema and, above all, buttocks. The latter, which Mario Vargas Llosa called "Úrculo's marvellous asses", became one of the pop artist's most famous themes, becoming the true protagonists of his most famous works.
A painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began to paint as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly afterwards he moved to Madrid, and began to take classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a style of painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence led his painting to evolve towards abstraction. Four years later, however, he returned to figuration and social criticism. In 1967 he made a trip to northern Europe, and it was then that he first came into contact with American pop art. Since then, Úrculo's work has been marked by a realism based on vivid colour and, in the 1970s, by erotic, satirical and critical themes. In the 1980s he lived in New York, where he carried out important artistic projects. In 1992 he returned to Paris. In the latter period he added to his repertoire the theme of the traveller confronted with the great modern city, an ironic variant of the figure of the romantic in awe of the landscape. This formal evolution could be seen through the numerous individual exhibitions he held since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, among others.
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EDUARDO ÚRCULO FERNÁNDEZ (Santurce, Vizcaya, 1938 - Madrid, 2003).
"Monumentalis Podicis", 1977.
Folder with 9 silkscreen prints, copy 11/100.
Signed, dated and numbered by hand.
Measurements: 94 x 66 cm.
Eduardo Úrculo's artistic imaginary was defined by a series of recurring themes: hats, suitcases, self-portraits of travellers wearing hats, kisses inspired by cinema and, above all, buttocks. The latter, which Mario Vargas Llosa called "Úrculo's marvellous asses", became one of the pop artist's most famous themes, becoming the true protagonists of his most famous works.
A painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began to paint as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly afterwards he moved to Madrid, and began to take classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a style of painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence led his painting to evolve towards abstraction. Four years later, however, he returned to figuration and social criticism. In 1967 he made a trip to northern Europe, and it was then that he first came into contact with American pop art. Since then, Úrculo's work has been marked by a realism based on vivid colour and, in the 1970s, by erotic, satirical and critical themes. In the 1980s he lived in New York, where he carried out important artistic projects. In 1992 he returned to Paris. In the latter period he added to his repertoire the theme of the traveller confronted with the great modern city, an ironic variant of the figure of the romantic in awe of the landscape. This formal evolution could be seen through the numerous individual exhibitions he held since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, among others.
"Monumentalis Podicis", 1977.
Folder with 9 silkscreen prints, copy 11/100.
Signed, dated and numbered by hand.
Measurements: 94 x 66 cm.
Eduardo Úrculo's artistic imaginary was defined by a series of recurring themes: hats, suitcases, self-portraits of travellers wearing hats, kisses inspired by cinema and, above all, buttocks. The latter, which Mario Vargas Llosa called "Úrculo's marvellous asses", became one of the pop artist's most famous themes, becoming the true protagonists of his most famous works.
A painter and sculptor, one of the best exponents of pop art in Spain, Eduardo Úrculo began to paint as a child, without any artistic training, and in 1957 he published his first illustrated strips in the Oviedo newspaper "La Nueva España". Shortly afterwards he moved to Madrid, and began to take classes at the Círculo de Bellas Artes. During these years he earned his living as an illustrator and set designer, and cultivated a style of painting marked by social expressionism. In 1959 he went to Paris, where he furthered his training at the Académie de la Grande Chaumière. In the French capital he worked as a graphic designer and met Eduardo Westerdahl, whose influence led his painting to evolve towards abstraction. Four years later, however, he returned to figuration and social criticism. In 1967 he made a trip to northern Europe, and it was then that he first came into contact with American pop art. Since then, Úrculo's work has been marked by a realism based on vivid colour and, in the 1970s, by erotic, satirical and critical themes. In the 1980s he lived in New York, where he carried out important artistic projects. In 1992 he returned to Paris. In the latter period he added to his repertoire the theme of the traveller confronted with the great modern city, an ironic variant of the figure of the romantic in awe of the landscape. This formal evolution could be seen through the numerous individual exhibitions he held since 1959, as well as in anthologies (Centro Cultural de la Villa de Madrid, 1997, and Museo del Grabado Español Contemporáneo de Marbella, 2000). Úrculo is currently present in numerous museums and collections of modern art, including the Museo Nacional Centro de Arte Reina Sofía, the Galleria Nazionale d'Arte Moderno in Rome, the Biblioteca Nacional de Madrid, the Museo de Arte Contemporáneo de Bogotá, the AENA, Testimoni and Fundesco collections, among others.
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