Salvador Dali. Gipsy of Figueres. (1923). 104 X 75 cm. Oil and gouache on paperboard.
Dali young, before going to Madrid to study, is attracted by the world of Gipsies which it frequently observed since his balcony of the house of Figueres.
This picture is an good example of the influence of the Uruguyan painter Raphael Barradas on the style of Dali in the Twenties. At Barradas, Dali draws some of his main resources stylistics of the time and this influence will continue to appear in later paintings. There are the short cuts of certain broad outlines of the composition, the disappearance of the facial characteristics of the model which, paradoxically, intensifies the expressivity of a face or an attitude. As in addition Dali is also still influenced by the cubism the model seems carved or cut with the bill hook in the middle of the table and the elements which surround it are treated still a little with the manner of the analytical cubism.
Rafael Pérez Barradas (1890 - 1929) is a draftsman and Uruguyan painter. Wire of a Spanish couple he is autodidact but its works will influence the pictorial main movements of its time. Its style aims at giving to its drawings a great expressive force, at the beginning by bright colours which it describes as “ vibrationist ” then by a form of expressionism which will influence the artists of generation 27 then the ultraism which is a Spanish poetic movement of avant-garde of the beginning of the 20th century.
The Generation of 27 is a literary group which appears in Spain between the years 1923 and 1927, in which several poets share ideas. Their first united action takes place with the Athenaeum of Seville in 1927. The group disappears at the beginning from the Spanish Civil war. The term of Generation of 27 such as it is usually employed is limited to ten authors:
Pedro Salinas (1891-1951), Jorge Guillén (1893-1984), Gerardo Diego (1896-1987)
Dámaso Alonso (1898-1990), Federico García Lorca (1898-1936), Vicente Aleixandre (1898-1984), Emilio Prados (1899-1962), Rafael Alberti (1902-1999), Luis Cernuda (1902-1963) and Handbook Altolaguirre (1905-1959).
Their esthetics tries to find elements common between the literary and popular traditions Spanish and the European esthetic of avant-gardes. It evolves of pure poetry, the dehumanized avant-gardes (futurism, cubism, ultraism, creationism) and of the cold metaphor upon the human engagement which supposes the revelation of surrealism and the political commitment (in the case of Raphael Alberti), for then dispersing for the majority in the exile at the time of the civil war.
Members of the group exploited this aesthetics but starting from artistic branches different from the literature. It is the case of the scenario writer Luis Bunuel, the caricaturist and stimulating K-Hito, the surrealist painters like Salvador Dalí, the painter and sculptor Maruja Mallo, the painters Benjamín Palencia, Gregorio Prieto, Manuel Ángeles Ortiz, Ramón Gaya and Gabriel García Maroto.
The point of view of the spectator is at the level of the shoulders of the model. While revealing the geometrical center of the painting one sees that the subject is slightly eccentric towards the left.
Framing highlights the guitar on the right and the face of the young man in top.
Oppositions of forms.
At thee square shapes of the books and paintings answer the round and oval shapes of the guitar of the fruit and cloth.
Work is built on the large diagonal from left to right which is rising.
This face with the empty eyes, paradoxically, is not without expressivity. The forms are mainly geometrical, oval, triangles and even square for the chin.
The guitar is the accessory highlighted. In a preoccupation of simplification and a shortening the cords of the instrument are not illustrated on the picture.
The various objects which surround the young man, the books and the paintings on the right and on the left, in top and bottom, show that this one is a merchant.
Light : The painting is enlightened left.
Colours : Contrasts between hot and cold colours.
Similars Paintings :
Raphael Barradas. Coffee scene. 1913. (Vibrationism).
Raphael Barradas. Kiosk of the Channel. 1923.
Raphael Barradas. Man in the Coffee. 1923.
Salvador Dali. Persistence of the Memory. 1931.