{"id":9873,"date":"2024-03-15T16:46:28","date_gmt":"2024-03-15T15:46:28","guid":{"rendered":"https:\/\/juliogonzalez.org\/?p=9873"},"modified":"2024-11-29T11:11:41","modified_gmt":"2024-11-29T10:11:41","slug":"roberta-gonzalez-at-the-centre-pompidou-2-april-2024-to-9-march-2024","status":"publish","type":"post","link":"https:\/\/juliogonzalez.org\/en\/2024\/03\/roberta-gonzalez-at-the-centre-pompidou-2-april-2024-to-9-march-2024\/","title":{"rendered":"Roberta Gonz\u00e1lez at the Centre Pompidou (2 April 2024 to 9 March 2025)"},"content":{"rendered":"\n
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For the first time, the Pompidou Center is showcasing an ensemble of work by Roberta Gonz\u00e1lez (1909-1976), an artist active on the Parisian and international scene starting in the 1930s. From April 2, 2024 through March 9, 2025, an ensemble of her paintings, drawings, illustrated books, objets d’art and archives will be on display, following a donation of artwork from the artist’s estate. The donation enriches the preexisting collection of her work acquired during the artist’s lifetime. <\/p>\n\n\n\n

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Tia Pilar<\/em>, 1930-1933, MNAM<\/figcaption><\/figure>\n\n\n\n
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Jeune fille<\/em>, c. 1935, MNAM<\/figcaption><\/figure>\n\n\n\n
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Sans titre<\/em>, 1937-1938, MNAM<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

Roberta Gonz\u00e1lez’s work is focused on the female figure, represented through various identities and styles. \u00a0Whether they are naturalistic or avant-gardist, painted or drawn, distressed or stoic, the common thread among her country women, mothers and portraits is their piercing gaze, tinted with nostalgia, a touch of\u00a0defiance, and determination. \u00a0Their gazes scrutinize, question and analyze, just like the artist herself, as she sought out her own artistic path in a world turned upside down by war and personal loss.<\/p>\n\n\n\n

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Sans titre, <\/em>1939, MNAM<\/figcaption><\/figure>\n\n\n\n
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Nu m\u00e9lancolique<\/em>, 1950, MNAM<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

The artwork on display dates from 1935-1954, a period that is a turning point for the artist. \u00a0Her distressed, distorted female figures, portrayed in twisted postures and with fragmented volumes, are her response to the conflict that erupts in Spain, the Gonz\u00e1lez family’s homeland, before escalating into World War II.<\/a><\/p>\n\n\n\n

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L’heure exacte,<\/em> 1950, huile sur panneau, 64,5 x 91,3 cm
Centre Pompidou, Mus\u00e9e national d’art moderne, Don Succession Gonz\u00e1lez, 2023, AM 2023-453 <\/figcaption><\/figure>\n\n\n\n

After the war, Roberta Gonz\u00e1lez seeks to carve out her place on the Parisian art scene where everything had changed. \u00a0She manages to free herself from the shadow of war and to develop a unique personal style<\/a>, based on the synergy of contrasts: light\/dark, abstraction\/figuration, movement\/stillness, melancholy\/joy. \u00a0This duality is a reflection of the artist’s own identities: French and Spanish, artist and promoter of her father’s work, playful but sensitive.\u00a0<\/p>\n\n\n\n

This ensemble will be enriched with documents from the artist’s personal archives (photographs, childhood drawings, her unpublished diary). \u00a0<\/p>\n\n\n\n

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c. 1917-1919, crayon et aquarelle sur papier,
coll. Gonz\u00e1lez Administration<\/figcaption><\/figure>\n\n\n\n
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1918, crayon et gouache sur papier,
coll. Gonz\u00e1lez Administration<\/figcaption><\/figure>\n<\/figure>\n\n\n\n

To capture the creative community of which Roberta Gonz\u00e1lez formed part, a handful of works by her father, Julio Gonz\u00e1lez, and first husband, Hans Hartung, will also be presented.\u00a0<\/p>\n\n\n\n

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Find out more about Roberta Gonz\u00e1lez <\/a><\/div>\n<\/div>\n","protected":false},"excerpt":{"rendered":"

For the first time, the Pompidou Center is showcasing an ensemble of work by Roberta Gonz\u00e1lez (1909-1976), an artist active on the Parisian and international scene starting in the 1930s. From April 2, 2024 through March 9, 2025, an ensemble of her paintings, drawings, illustrated books, objets d’art and archives will be on display, following […]<\/p>\n","protected":false},"author":8,"featured_media":9837,"comment_status":"closed","ping_status":"closed","sticky":false,"template":"","format":"standard","meta":{"footnotes":""},"categories":[640,696],"tags":[],"class_list":["post-9873","post","type-post","status-publish","format-standard","has-post-thumbnail","hentry","category-exhibition","category-expositions-en"],"_links":{"self":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts\/9873","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts"}],"about":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/types\/post"}],"author":[{"embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/users\/8"}],"replies":[{"embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/comments?post=9873"}],"version-history":[{"count":3,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts\/9873\/revisions"}],"predecessor-version":[{"id":9891,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/posts\/9873\/revisions\/9891"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/media\/9837"}],"wp:attachment":[{"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/media?parent=9873"}],"wp:term":[{"taxonomy":"category","embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/categories?post=9873"},{"taxonomy":"post_tag","embeddable":true,"href":"https:\/\/juliogonzalez.org\/en\/wp-json\/wp\/v2\/tags?post=9873"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}