31:
599:, leaving behind a deep feeling of disquiet about the political and social fragility of the time. The works in this series are mostly empty of human life; they show deserted, nocturnal cities to convey the desolation and anguish felt across the country as a result of the new atmosphere. The painter furnishes these nearly empty streets and solitary buildings with a colour palate of greys, blues and ochres, giving greater dramatism to the fear that had returned to permeate everything. At this moment the human figures play a secondary role and the setting takes on more importance than in the rest of his oeuvre.
377:"I had the impression that informalism put people off painting. That made me uncomfortable. To a certain extent I have always wanted to keep people close. I have always been worried about becoming a painter who is locked away in his studio, and that my work wouldn't reverberate or connect with others. The idea that what I was doing, however good it was, would only interest a handful of people was, and is, inconceivable to me, something approaching suicide. I have always wanted to be close to people, I have always looked for communication." Juan Genovés
165:. But the stifling environment of Spanish society at that time prevented the flow of ideas and influences from abroad. As a result, Genovés found himself in an arts faculty that was stuck in the past, with teachers who defended the school of Sorolla and were set against anything to do with modern art. In contrast, Genovés was always critical of his surroundings and his teachers’ way of understanding art. This led him to connect with a small group of young visual artists, with whom he created the group
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226:, losing his position there; Genovés was not offered an individual exhibition in a public institution until 1983. Nevertheless, he continued to take part in group exhibitions around the world and in 1968 created the Association of Plastic Artists, ASAP, clandestinely. During this period, together with another 80 artists, he locked himself up in the Prado Museum as a protest against the detention of the art critic
453:(The Objective) reveal this concern, with a representation of a fleeing mass, in the focus of a long-distance lens or the barrel of a weapon. In others he uses elements of cinema narration, parallel language and alternating planes. His use of muted tones, sepias and greys adds to the tension and horror that Genovés presents. Nevertheless, he also created pictures such as
341:, united with the dramatism of a political and social context. The priority for Genovés was to reflect turbulent social and political reality, not just the one in which Spain was immersed, but also what many other countries were suffering. Living through a dictatorship in his own country, active participant in strikes and demonstrations repressed by that dictatorship, he was
653:, which shows a canvas divided by an abrupt red line, where the crowd represents an uncomfortable tension in its attraction towards that strip, but at the same time submissively obeys and does not cross. Looking at the canvas, a repressive power that questions the existence of free will is palpable.
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for the political prisoners of Franco's dictatorship. This would cost him 7 days behind bars. Although the first print run was confiscated by the police, five hundred thousand posters were printed and became hugely popular, with the work coming to represent the reconciliation and closure that it was
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Together with international recognition, which continues to this day, he received institutional acknowledgement in Spain. He received a lifetime achievement award from the
Valencian Region, the Plastic Arts Prize , the Gold Medal for Merit in Fine Arts and in 2010 Valencia's Cultural Action Award .
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In this final period, Genovés continued to make a contribution to the debate on the reality surrounding him, bringing his own perspective, that as spectators immersed in the crowd it is difficult to discern. His work's artistic, political and social content is transmitted by his investigation of
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over wide empty white spaces. Crossing this space sparkles and coloured shapes appear that in relation to the crowds reflect on the trends of movement, freedom, the limits of space. Sometimes, the intense colour shapes might remind one of the shock wave of an explosion, repelling the figures; at
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that relate with one another forming scattered groups. His gaze has risen to take in perspective, going beyond local situations and observing contemporary dynamics in their broader context. This marks a change in his work, as the surroundings are undergoing constant change. Bringing together
662:"All of Genovés is in the most recent Genovés, except the fact that aesthetic of the image offers a greater paradoxical moral force, because it better dramatizes the absence of human refuge, intensifies the absurd, the disorientation, and makes the fragility more palpable and urgent"
529:, bringing the viewer face to face with individual aggressions. The individuals, now bigger and treated in a hyperrealist manner, are superimposed on white backgrounds, figures with spot colours, whose purpose is direct communication, devoid of flourishes.
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which also borrowed procedures more associated with informalism, and after an extensive search for expression, he found his own style, becoming a crucial artist in the post-war
Spanish vanguard. This shift links the art of Genovés to what has been termed
184:, but soon each of its members started moving in different artistic directions and it was dissolved. Genovés did not find inspiration in the too-accommodating art encouraged in the faculty, nor in the artistic proposals made by others such as
211:». This group saw pictorial work as being closely linked to the artist's civic and political stance. His works added to the social demands of the time in defence of the civil liberties that Spaniards had been denied by Franco's regime.
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begins to develop in this first phase of his work. We should note here that his crowds, generally seen from above, are made up of individuals, they are not a homogeneous mass; rather he presents a duality between the group and the
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militancy. Between 1983 and 1995 he was part of the new Fine Arts Board in Madrid. In 1990 he created the VEGAP Association (Visual, Plastic
Artists’ Management Entity), sitting on its board, and chairing it between 2007 and 2010.
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With the arrival of democracy, the way in which Genovés had expressed his militancy changed. The painter himself acknowledges a shift in his social action, when commenting during an interview that he had moved from political to
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collection. After many years in its vaults, it saw the light again in 2016, when it was exhibited in the
Congress of Deputies’ Constitution Room, staying there until 2018 when it was included in the collective exhibition
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and pop art in his manner of representing the objects that typify mass culture but walks away from the subjects portrayed by that culture. Herein lies the particular force of his work: the mixture between a language of
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The nineties see a period of synthesis in the work of Genovés, with the reappearance of crowds, this time made up of small figures always painted in blacks and greys which the light causes to reflect elongated
633:, his spaces and figures are full of colour and texture, each figure represented is different and is going in a different direction, a reflection of contemporary societies. Now the individuals not only flee
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His first formal contact with painting was during night classes taken in the
Industrial Engineering School's Artistic Metalworking department. Soon after, at a very early age, he started at the
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In this initial stage, the human shapes in his work begin to multiply and shrink, creating multitudes, sets of individuals who tell stories of terror, of flight, of war. His work focuses on
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His constant social commitment to portray those who were fighting Franco's dictatorship meant that he kept track of the historic development and consequences of the repression during the
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2001: Mejor
Individual de Artista Extranjero en el año 2000 por "Secuencias y Sueños" presentada en el Museo de Arte Moderno; ADCA, Asociación Dominicana de Críticos de Arte, Inc.
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His work has been recognised domestically and internationally, forming part of museum collections and exhibitions across the world. He received the
Honourable Mention at the 33rd
89:•II Turia Awards •Spanish National Visual Arts Award (1984) •Gold Medal for Merit in Fine Arts (2005) Prize for Great Merit from the Valencian Regional Government (2016)
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1953: Medalla conmemorativa; seleccionado a partir de la II Bienal del Reino de
Valencia para la Bienal Hispanoamericana; Instituto Iberoamericano de Valencia: Mercadillo
265:. His highly recognisable style and the communicative force of his works set him apart as a creator of some of the most iconic images in that period of Spain's history.
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429:, where he received the Jury's Honourable Mention. This event became the start of his extensive international career, when he signed an exclusive contract with the
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which would last his entire life. His fame abroad gives him a kind of double life until the end of the dictatorship. At the same time that he was exhibiting in
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304:, because of his original way of uniting what he was representing and how he presented it. He uses a language that is strongly influenced by
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trade union's carpentry division. Political activism shaped his life and art, manifesting itself repeatedly throughout his life in his work.
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Decreto 152/2016, de 7 de octubre, del
Consell, por el que concede la Gran Cruz de la Orden de Jaume I el Conqueridor a Juan Genovés Candel
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139:, to working-class parents, Juan Genovés Cubells and María Candel Muñoz, from different backgrounds. His mother's family were practicing
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230:. It was also at this time that he attended the World Peace Congress as a member of the clandestine Spanish delegation, together with
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1965 marked a turning point in his career as a painter and his relationship with the dictatorship. His individual exhibition in the
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in 1966 and the Gold Medal for Merit in Fine Arts, given by Spain's
Ministry of Culture, in 2005. His Estate is represented by
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pictorial language, the image's static movement, visual rhythm and the use of contrast between the backdrop and the figure.
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in the dictatorship's exercise of oppression of society. In this decade he also participates in the Spanish Pavilion in the
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1955: Primer Premio; Concurso "Norteamérica vista por pintores españoles", Casa Americana de Valencia: En cada puerto...
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543:(1976), which was used for a poster that the anti-Franco platform, the Democratic Board had commissioned him to make
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or are just disorientated and don't know where they are coming from or where they are going. An example of this is
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369:, giving us painting that is easy to access, with socially committed issues, worlds away from the fashionable
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A sign of the continued dialogue between the work of Genovés and the historical events in the country is the
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1951: Pensionado de 2 años de la Diputación Provincial de Valencia en la especialidad de <Figura>;
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568:. After going into a private North American collection, the original returned to the now-defunct Madrid
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of attention; this is how the author plays with the attraction, repulsion and groupings among them.
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in its most popular iteration, in terms of the sequential layout and, in turn, in his use of vivid
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struggle, together with other painters, creating images for a party which at this point was still
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The social and political upheavals in Spain during his childhood, which culminated in full-scale
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154:, marked the painter's life and work. His first memories and experiences took place during the
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very early on. After briefly trying out several different styles, he moved steadily towards
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in Valencia, subject to bombings and one of the main battlegrounds of this armed conflict.
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Juan Genovés in front of his work in 1966 when he represented Spain at the Venice Biennale
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1955: Medalla de Plata; IV Concurso Nacional de Pintura Diputación Provincial de Alicante
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other times, however, they are attractive points of light or lines indicating direction.
2001:
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2002: Artista Invitado a Premios Vadepeñas 2000; Centro Cultural Cecilio Miñoz. Fillol,
1753:"Juan Genovés: "La cultura no cambia el mundo como pensábamos en los 60" | El Cultural"
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328:; thus, the artistic message runs through the entire work, not just in the mark of the
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Between 1957 and 1961 he began to create links with other artists, this time with the
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1579:"Juan Genovés: una vida entre la energía de la multitud y la lírica de la soledad"
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1974:
556:. In 2003 the painter was asked to adapt the work to create a bronze monument in
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1953: Primer Premio de Pintura; X Exposición Nacional del Frente de Juventudes,
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Calvo Serraller, Francisco (2018). "Los luminosos barrotes de la belleza".
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Despite his formal artistic education, Genovés distanced himself from the
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whose work is considered to symbolise the defence of democracy during the
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Juan Genovés died on 15 May 2020 from natural causes, active to the end.
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Group, which was driven by a shared interest in renewing the language of
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1864:"Poéticas de la democracia | Museo Nacional Centro de Arte Reina Sofía"
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The Poetics of Democracy: Images and Counter-Images from the Transition
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1950: Primer Premio Nacional del SEU; Exposición Arte Universitario,
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509:, and so on. Furthermore, the mass is made up of characters that are
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G. Andújar, Daniel (2019). "Resistencia contra la dictadura, 1968".
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Beca de Pintura (Paisaje) Residencia Oficial "El Paular" y Segovia;
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One of the painter's most popular pictures belongs to this period,
253:, Genovés expressed his political protest through murals, and as a
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1967: Medalla de Oro; VI Biennale Internazionale d'Arte República
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Porcel, Violant (2019). "La posibilidad de congelar una acción".
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2002: Premio de las Artes Plásticas de la Generalitat Valenciana.
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murdered on Madrid's Atocha Street, which can be seen today in
1404:
Montesinos, Armando; Murría, Alicia; Navarro, Mariano (2019).
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Juan Genovés was born on 31 May 1930 at 17, Finlandia Street,
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In these two final decades, Genovés continued working with
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1954: Medalla de Plata; III Concurso Nacional de Pintura,
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Escuela Superior de Bellas Artes de San Carlos de Valencia
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because its abstract language did not appear to challenge
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1950: Medalla de Oro, IX Exposición Arte Universitario,
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Colección Amigos del Centro de Arte Reina Sofía, Madrid
169:(1949-1954), who opposed narrow academic impositions.
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Sánchez Castillo, Fernando (2018). "In-Transición".
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1956: Premio; II Bienal de Barcelona: Tiovivo (1953)
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in his work during this decade. Genovés grounds our
485:. They contain or suggest opposing binaries such as
365:, among others. He upends into his work that entire
1563:Muñoz D'imbert, Sílvia (2014). "Universo Genovés".
992:Arkansas Arts Center, MacArthur Park, Little Rock,
595:series that he created in the Eighties. The failed
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1521:. Valladolid: Museo Patio Herreriano. p. 14.
1499:. Valladolid: Museo Patio Herreriano. p. 18.
1308:, sección "L'immagine fotográfica": Agrupamiento
249:died, during the tumultuous period known as the
2002:"Juan Genovés, camino del futuro | El Cultural"
1458:""El Abrazo" de Juan Genovés | Arte Spain"
816:Museo d`Art Contemporany dels Països Catalans,
449:was one of fear and repression. Pieces such as
859:Patrimonio Nacional del Estado español, Madrid
465:(1969) in which he engages in a dialogue with
8:
1418:: CS1 maint: multiple names: authors list (
1375:"S'ha mort l'artista Joan Genovés a 89 anys"
1340:Medalla de Oro al Mérito en las Bellas Artes
808:Museo de Arte Contemporáneo Patio Herreriano
771:Instituto Cultural Juan Gil Albert, Alicante
704:Centro Cultural Internacional Oscar Niemeyer
597:coup d’état took place on 23rd February 1981
1109:Museo Nacional de Bellas Artes de La Habana
552:hoped Spanish society would achieve during
1096:Museo de la Solidaridad Salvador Allende,
822:Museo de Arte Contemporáneo Unión Fenosa,
742:Colección Generalitat Valenciana, Valencia
332:. In other words, he gets sustenance from
108:(31 May 1930 – 15 May 2020) was a Spanish
73:San Carlos Royal Academy of Fine Art
53:15 May 2020 (89 years old)
29:
18:
2100:. DOGV (Consultado el 7 de mayo de 2017).
829:Museo Nacional Centro de Arte Reina Sofía
385:(1959-1975). Following his time with the
2049:Juan Genovés. La intensidad del silencio
1814:"Juan Genovés - El abrazo (The Embrace)"
1163:Museo Internacional Arte Contemporáneo,
784:Museo de Arte Contemporáneo de Vilafamés
1736:Coomer, Martin (2012). "Juan Genovés".
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1092:Museo de Arte Moderno de Río de Janeiro
1022:Hirshhorn Museum and Sculpture Garden,
909:Musée Royaux des Beaux-Arts de Belgique
878:Nationalgalerie, Staatlische Museen de
798:Museo de Arte Contemporáneo de Ayllón,
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1839:"El 'abrazo' de Juan Genovés a Madrid"
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1406:Juan Genovés: disonancia y resistencia
1062:Ohio University College of Fine Arts,
942:Sainsbury Center for the Visual Arts,
804:Museo de Arte Contemporáneo de Cáceres
572:, later continuing its journey to the
300:. His work began to be defined in the
180:; initially this group tended towards
2051:. Museo Patio Herreriano. p. 10.
1973:(in European Spanish). Archived from
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890:Kulturministerium Badem-Württemberg,
547:. The poster's purpose was to demand
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1311:1968: Premio Internazionale Marzotto
1182:Power Gallerie of Contemporary Art,
927:Centre National d`Art Contemporain,
766:Instituto Valenciano de Arte Moderno
733:Colección Caixa d`Estalvis, Valencia
2067:"Alta Distinción de la Generalitat"
1519:Genovés. La intensidad del silencio
1497:Genovés. La intensidad del silencio
1028:The Philips Industries Collection,
645:, are held back by a huge frontier
207:(1960-1963) with whom he defended «
200:. This led him to later set up the
2000:Parreño, José María (2020-05-16).
1342:, Ministerio de Cultura de España.
1316:Premio Nacional de Artes Plásticas
1288:1955: Primer Premio; XV Salón del
792:Museo del Ayuntamiento de Valencia
637:during a march, but congregate in
14:
1681:"JOSÉ MARIN–MEDINA | El Cultural"
1645:"tendencias del mercado del arte"
1318:, Ministerio de Cultura de España
949:Galleria Nazionale d'Arte Moderna
844:Museo Vasco de Arte Contemporáneo
780:Museo de Bellas Artes de Valencia
1643:tendenciasdelarte (2009-05-01).
1440:"Juan Genovés : Cronología"
1408:. En La Fábrica, ed. p. 23.
1351:Orden de Jaime I el Conquistador
1151:South African National Gallery,
1134:Museo de Bellas Artes de Caracas
1013:Chase Manhattan Bank, Nueva York
715:Colección de Arte del Siglo XX,
367:aesthetic of fear and repression
312:, reminiscent of North American
216:General Directorate of Fine Arts
192:that had become better known in
2132:Spanish transition to democracy
1751:Camarzana, Saioa (2014-11-07).
1298:1966: Mención de Honor; XXXIII
1114:Museo de Arte Moderno de México
1104:Museo de Arte Moderno de Bogotá
1054:The Nelson-Atkins Museum of Art
966:Collezione Thyssen-Bornemisza,
1495:Muñoz Molina, Antonio (2018).
1270:, Madrid: Taller de ceramistas
777:Museo de Bellas Artes de Álava
1:
1124:Museo de Arte Contemporáneo,
1045:Minneapolis Institute of Arts
736:Colección Caja Madrid, Madrid
656:The well-known art historian
2073:(in Spanish). Archived from
2071:Argos. Portal de Información
1837:Arranz, María (2020-05-15).
1353:de la Generaliat Valenciana.
988:Montreal Museum of Fine Arts
934:Museum Boymans-van Beuningen
712:Colección Argentaria, Madrid
419:the individual and the crowd
389:group, the proponents of an
316:, with techniques involving
81:Painter & graphic artist
2027:Colección Gelonch-Viladegut
1565:Juan Genovés. Anar i tornar
1437:Cronología de Juan Genovés
1230:2003: El Abrazo.(The Hug).
1038:Andrew Dixon White Museum,
607:, creating the illusion of
585:The Eighties & Nineties
345:and collector of images of
163:San Carlos Fine Arts school
2148:
1610:. La Fábrica. p. 115.
896:Museum fur Moderne Kunst,
257:member he remained in the
220:National Library in Madrid
16:Spanish artist (1930–2020)
1802:. La Fábrica. p. 95.
1649:www.tendenciasdelarte.com
1632:. La Fábrica. p. 11.
1234:. Ayuntamiento de Madrid.
862:Fundación Caja de Granada
749:Congreso de los Diputados
672:Collections & museums
658:Francisco Calvo Serraller
554:the democratic transition
56:Madrid (Spain)
28:
1585:(in Spanish). 2020-05-15
1547:Juan Genovés. Multitudes
1455:Imágenes de ambas obras
1018:Art Institute of Chicago
884:Neue Galerie der Stadt,
98:https://juangenoves.com/
1545:Murría, Alicia (2015).
1290:Círculo de Bellas Artes
1268:Círculo de Bellas Artes
774:Museo Municipal, Madrid
570:Contemporary Art Museum
2063:Generalidad Valenciana
1868:www.museoreinasofia.es
1818:www.museoreinasofia.es
574:Reina Sofia Art Museum
536:
521:There was a change of
455:Uno, dos, siete, siete
427:XXXIII Venice Biennale
414:
379:
2047:Toral, María (2018).
2029:(in European Spanish)
1945:(in European Spanish)
1920:(in European Spanish)
1895:(in European Spanish)
1780:(in European Spanish)
1738:Genovés Obra Reciente
1715:(in European Spanish)
1232:Plaza de Antón Martín
1225:Work in public spaces
902:Museum Modern Kunst,
854:Palacio de la Moncloa
739:Colección Caja Murcia
535:
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383:regime's second phase
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198:Franco's dictatorship
1800:Genovés. Resistencia
1630:Genovés. Resistencia
1608:Genovés. Resistencia
1068:Madison Art Center,
1050:Worcester Art Museum
999:Museum of Modern Art
755:Fundación Juan March
727:Colección La Caixa,
721:Colección Bancaixa,
1119:Museo Rufino Tamayo
835:Museo de Santa Cruz
745:Colección Iberdrola
677:
566:Antón Martín Square
431:Marlborough Gallery
298:figurative painting
190:vanguard collective
106:Juan Genovés Candel
1349:y Gran Cruz de la
1121:, Ciudad de México
960:Muzeum Narodowum,
898:Fráncfort del Meno
699:Asamblea de Madrid
676:
537:
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339:mass communication
251:Spanish Transition
114:Spanish transition
1300:Bienal de Venecia
1222:
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1157:Museo de Arte de
1098:Santiago de Chile
1008:Guggenheim Museum
768:, Valencia (IVAM)
399:political realism
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41:31 May 1930
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1442:. Archived from
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1390:
1389:
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1371:
1130:Museo Itinerante
678:
675:
591:Paisajes Urbanos
355:Northern Ireland
349:taking place in
240:Fernando Arrabal
218:, currently the
209:new figurativism
33:
19:
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2077:on 8 March 2019
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1347:Alta Distinción
1241:
1227:
1211:Museo de Arte,
1153:Ciudad del Cabo
795:Museo de Cuenca
674:
618:
609:superimposition
587:
519:
407:
394:neofigurativism
347:civil conflicts
320:, printing and
287:
255:Communist party
133:
121:Venice Biennale
57:
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45:
42:
24:
17:
12:
11:
5:
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2023:"Juan Genovés"
2014:
1987:
1955:
1930:
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1790:
1765:
1743:
1740:. Marlborough.
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1567:. Marlborough.
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761:Fundación Aena
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673:
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639:shopping malls
617:
614:
586:
583:
518:
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445:, his life in
423:dehumanisation
406:
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286:
283:
194:post-war Spain
132:
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101:
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78:Known for
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2018:
2015:
2003:
1996:
1994:
1992:
1988:
1977:on 2021-09-27
1976:
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1968:
1962:
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1939:"2000 - 2009"
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1583:La Vanguardia
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1464:on 2012-01-27
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1446:on 2011-02-26
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1203:Israel Museum
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555:
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546:
545:clandestinely
542:
534:
530:
528:
524:
517:The Seventies
516:
514:
512:
508:
507:disconformity
504:
500:
496:
492:
488:
484:
479:
476:The study of
474:
472:
468:
464:
460:
459:Tres círculos
456:
452:
448:
444:
443:United States
440:
439:Latin America
436:
432:
428:
424:
420:
411:
404:
402:
400:
395:
392:
391:expressionist
388:
384:
378:
374:
373:of the time.
372:
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364:
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359:United States
356:
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228:Moreno Galván
225:
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175:
170:
168:
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157:
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148:
146:
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138:
130:
128:
126:
125:Opera Gallery
122:
117:
115:
111:
107:
99:
96:
92:
88:
84:
80:
76:
72:
68:
64:
60:
52:
48:
40:
36:
32:
27:
20:
2096:
2091:
2079:. Retrieved
2075:the original
2070:
2057:
2048:
2042:
2031:. Retrieved
2026:
2017:
2006:. Retrieved
2004:(in Spanish)
1979:. Retrieved
1975:the original
1971:Juan Genovés
1970:
1947:. Retrieved
1943:Juan Genovés
1942:
1933:
1922:. Retrieved
1918:Juan Genovés
1917:
1908:
1897:. Retrieved
1893:Juan Genovés
1892:
1883:
1872:. Retrieved
1870:(in Spanish)
1867:
1858:
1847:. Retrieved
1845:(in Spanish)
1842:
1832:
1821:. Retrieved
1817:
1808:
1799:
1793:
1782:. Retrieved
1778:Juan Genovés
1777:
1768:
1757:. Retrieved
1755:(in Spanish)
1746:
1737:
1717:. Retrieved
1713:Juan Genovés
1712:
1685:. Retrieved
1683:(in Spanish)
1653:. Retrieved
1651:(in Spanish)
1648:
1638:
1629:
1607:
1587:. Retrieved
1582:
1573:
1564:
1546:
1518:
1496:
1466:. Retrieved
1462:the original
1448:. Retrieved
1444:the original
1405:
1383:. Retrieved
1381:(in Catalan)
1378:
1010:, Nueva York
666:
661:
655:
650:
631:figurativism
619:
616:2000 onwards
601:
593:
590:
588:
578:
540:
538:
520:
475:
462:
458:
454:
450:
418:
416:
386:
380:
376:
366:
288:
280:
276:
270:
267:
259:anti-fascist
244:
224:Pepe Escassi
213:
202:
185:
173:
171:
166:
160:
152:dictatorship
149:
134:
118:
105:
104:
23:Juan Genovés
2122:2020 deaths
2117:1930 births
2081:15 November
1967:"2010-2020"
1914:"1990-1999"
1889:"1980-1989"
1774:"1970-1979"
1709:"1960-1969"
1330:Ciudad Real
957:Muzeum Lódz
917:Taidehalle
789:Museu d'Elx
786:, Castellón
660:commented:
627:abstraction
523:perspective
461:(1969) and
451:El objetivo
405:The Sixties
371:informalism
306:photography
182:informalism
62:Nationality
2111:Categories
2033:2021-06-23
2008:2021-06-23
1981:2021-06-23
1949:2021-06-23
1924:2021-06-23
1899:2021-06-23
1874:2021-06-23
1849:2021-06-23
1823:2021-06-23
1784:2021-06-23
1759:2021-06-23
1719:2021-06-23
1687:2021-06-23
1655:2021-06-23
1589:2021-06-23
1468:2021-06-23
1450:2021-06-23
1385:2021-06-23
1358:References
1326:Valdepeñas
1306:San Marino
1024:Washington
1003:Nueva York
968:Castagnola
846:(Artium),
812:Valladolid
635:repression
503:conformity
491:alienation
483:individual
334:mass media
178:plasticity
1414:cite book
1207:Jerusalem
1174:Australia
1074:Wisconsin
962:Wroclawiu
892:Stuttgart
886:Aquisgrán
824:La Coruña
729:Barcelona
541:El Abrazo
499:community
294:orthodoxy
167:Los Siete
156:Civil War
141:Catholics
131:Biography
70:Education
2065:(2016).
1292:, Madrid
1278:Alicante
1246:Valencia
1213:Nagasaki
1159:Pretoria
1058:Missouri
1001:(MOMA),
994:Arkansas
938:Róterdam
923:Helsinki
913:Bruselas
856:, Madrid
831:, Madrid
757:, Madrid
751:, Madrid
723:Valencia
717:Alicante
706:, Avilés
695:, Madrid
495:solitude
463:La diana
457:(1968),
441:and the
322:stencils
318:aerosols
291:academic
271:cultural
174:Parpalló
137:Valencia
44:Valencia
1843:EL PAÍS
1379:VilaWeb
1126:Managua
1070:Madison
944:Norwich
919:Ateneum
848:Vitoria
818:Bañolas
800:Segovia
643:beaches
622:figures
605:shadows
562:lawyers
560:to the
558:tribute
549:amnesty
487:freedom
471:colours
467:pop art
363:Vietnam
343:witness
326:machine
314:pop art
302:sixties
263:illegal
186:El Paso
110:painter
94:Website
65:Spanish
1345:2016:
1338:2005:
1314:1984:
1252:Madrid
1239:Awards
1184:Sídney
1165:Guinea
1143:Africa
1064:Athens
1040:Ithaca
1030:Dayton
904:Vienna
880:Berlín
870:Europe
839:Toledo
651:Linde
511:points
478:crowds
435:Europe
357:, the
247:Franco
245:After
236:Bardem
86:Awards
1047:(MIA)
929:París
837:, de
684:Spain
641:, on
447:Spain
387:Hondo
330:brush
232:Saura
205:group
203:Hondo
2083:2016
1420:link
1201:The
1193:Asia
1034:Ohio
1016:The
953:Roma
693:AENA
647:wall
629:and
527:gaze
505:and
497:and
489:and
361:and
351:Peru
310:film
308:and
285:Work
238:and
188:, a
50:Died
38:Born
145:UGT
2113::
2069:.
2025:.
1990:^
1969:.
1958:^
1941:.
1916:.
1891:.
1866:.
1841:.
1816:.
1776:.
1728:^
1711:.
1696:^
1664:^
1647:.
1616:^
1598:^
1581:.
1555:^
1527:^
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1412:{{
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501:,
493:,
437:,
401:.
353:,
242:.
234:,
127:.
116:.
2085:.
2036:.
2011:.
1984:.
1952:.
1927:.
1902:.
1877:.
1852:.
1826:.
1787:.
1762:.
1722:.
1690:.
1658:.
1592:.
1549:.
1471:.
1453:.
1422:)
1388:.
1332:.
1263:;
1100:.
850:.
Text is available under the Creative Commons Attribution-ShareAlike License. Additional terms may apply.
