Luis Delacámara (1942-2006) - The Rally (a Demonstration In 1974 In Spain)

- Work composed of four fabric screens painted on both sides mounted on frames connected by hinges that form a screen. A photographic portrait of the artist under an effigy of the Basque philosopher and essayist Miguel de Unamuno, interspersed with adhesive letters, serves as the signature of the whole. - Crowd painting is typical of the 70s and 80s in Spain, understood as a collective and choral manifestation of the concerns of the youth of the moment. In this magnificent painting by the unclassifiable genius of the 60s and 70s, Luis Delacámara, political denunciation takes on an unusual pop-art touch, superimposed on the black and white portraits of the bigwigs of the Franco regime, policemen, soldiers and politicians who represent the reactionary and conservative multitude, full of hope and colorful young Spaniards, among whom the artist represents himself at least three times. Icons of Spanish fashion of the time, such as the typical sunglasses, the lapel shirts or the corduroy jackets, and the inimitable hippie-inspired hairstyles are arbitrarily applied to the tide to which the artist attributes the chromatic force of an iridescent rainbow, leaving in the shadow, in the old and outdated black and white of hunger and fear, the torturers and repressors of the nascent political spring of the Transition. - A self-taught painter, he only completed a brief period of study at the School of Arts and Crafts in Madrid. From 1959, he became involved in the world of cinema, in the artistic department of Samuel Bronston's film studios, where he became familiar with the basics of painting. His artistic career began in the 60s with a figurative painting with an expressionist tendency in the wake of the new figuration that was occurring in Spain in that decade. These are works of a critical and social nature, populated by figures that tend towards the grotesque, where faces and bodies overlap, with frequent changes of scale, which give it a strong expressive charge, in works such as El militar (1965) or Pintura con loco (1967). During the following decade, his work evolved towards a painting with pop roots, playing with the duplication or variation of motifs, changes of scale and the dislocation of forms, as in his work 28 Aspects for Fifth Harmony (1978). Since the 1980s, his painting has evolved towards a syncretism of forms and the space of representation, in flat color facets that define the composition, as can be seen in his series of works Les Trois Grâces Noires (1987-1990). From the 1980s onwards, Delacámara's work gained wide recognition, with a solo exhibition at the Spanish Pavilion at the 1980 Venice Biennale; he received a Special Mention at the 14th International Painting Festival of Cagnes-sur-Mer in 1983; the First Grand Prize at the International Art Biennial of Valparaíso in 1983; and a grant for research into new forms of expression from the Spanish Ministry of Culture in the same year. He exhibited regularly in Spanish galleries from 1964 onwards and a major retrospective was dedicated to him at the Art Museum of The Americas (Washington DC, 1991). - Dimensions of each sheet: 50 x 146 cm / Total dimensions of the extended work: 200 x 146 cm - Galerie Montbaron includes a technical sheet prepared by a qualified art historian with all its lots. This form is sent in digital format and on request.