Madrid

Curro González

Espacio Distrito Cu4tro

The evocation of symbolic physical space is an essential part of the painting tradition in Seville, a Baroque city where images carry enormous weight. This highly significant use of space goes back as far as the renowned Sevillean Tenebrists of the seventeenth century and must now be expanded with the arrival of Guillermo Pérez Villalta, a powerful and heterodox Andalusian painter who recently moved to the city.

There might seem to be little relation between Pérez Villalta and Curro González, a Sevillean artist a generation younger who began his career at the height of the Transavanguardia movement. At that time González was making paintings that were very synthetic in appearance, though their cluttered backgrounds provided a subtle counterpoint. Since then, his way of painting has changed a great deal, tending toward a dense accumulation of figures and the portrayal of real objects and

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