Geómetrísk matarlyst

Geómetrísk matarlyst


  • Year : 1963
  • Height : 65 cm
  • Width : 100 cm
  • Category : Málverk
  • Sub-category : Lakkmálverk

1963 was a year of intense experimentation for Erró. In his works, he reduced and even eliminated mechanical references, turning instead to other categories of images. He ended up constructing his paintings exclusively out of pre-existing visual documents. In Geometrical Appetite, Erró puts on stage historical characters and a primate devouring abstract paintings by Robert Delaunay, Auguste Herbin, Kazimir Malevich, Olle Bærtling, Richard Mortensen, and Jean Dewasne. Four years after painting The School of New-Par-Yorkis, Erró once again denounced abstraction and argued for figurative painting, but a figurative art with new forms and new content, in tune with its time. It was these convictions that lay behind his statement in the Icelandic newspaper Morgunblaðið on November 27, 1963, just three weeks before his first trip to the United States: “I feel that in art one should start one's own “wave,” one’s own movement. [...] The days of figurative and abstract art are over. Everything has been said, everything has been done, and those kinds of painting have become academic. They ought to disappear, and that is precisely what they are in the process of doing.”

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