The exhibition was installed in Prague after the success of its exhibition in Bratislava, where more than 5,000 visitors were able to see a retrospective of Canarian art from the last century. This responded to the project's objective of bringing a reality of the Canary Islands other than that of a famous tourist paradise to the public of a potential European area, as well as highlighting the artistic relations between the former Czechoslovakia and the Canary Islands, promoted by \u00d3scar Dom\u00ednguez in the 1930s.<\/p>\n\n\n\n
The selection of some fifty works by sixteen island painters with a great projection abroad offered a suggestive journey through all the currents and influences that have nourished Canarian art over the last hundred years. years. The public could appreciate the artistic production of Dom\u00ednguez (1906-1957), Jorge Oramas (1911-1935), C\u00e9sar Manrique (1919-1992), Manolo Millares (1926-1972), Pedro Gonz\u00e1lez (1927), F\u00e9lix Juan Bordes (1939), F\u00e9lix Juan Bordes (1939), Juan Jos\u00e9 Gil (1947) and Juan Jos\u00e9 Gil (1947), Juan Jos\u00e9 Gil (1947), Paco S\u00e1nchez (1947), Gonzalo Gonz\u00e1lez (1950), Fernando \u00c1lamo (1952), Carlos Matallana (1956), Juan Gopar (1958), Carmen C\u00f3logan (1959), Cristina G\u00e1mez (1964), Pipo Hern\u00e1ndez Rivero (1966) and Santiago Palenzuela (1967).<\/p>\n\n\n\n
\u00d3scar Dom\u00ednguez headed this itinerary, both from a chronological point of view and for his aforementioned contribution to the cultural flows between the Canary Islands and this part of Europe. Rarely has the public in the Czech Republic and Slovakia been able to approach Spanish contemporary art. However, it is little known that Dom\u00ednguez exhibited several times and with great success in these countries, spent long periods in Prague and Olomouc and became friends with many Czechoslovak artists. All this was the result of a group exhibition held in the Czech capital in 1946, in which Dom\u00ednguez took part.<\/p>\n\n\n\n
With these premises as an unavoidable antecedent and following the spirit of enthusiasm of the Gaceta del Arte, more than half a century later, Canary Island art returned to two cities that were key points in Dom\u00ednguez's career.<\/p>","protected":false},"featured_media":877,"template":"","meta":[],"categories":[],"tags":[],"class_list":["post-781","exposiciones","type-exposiciones","status-publish","has-post-thumbnail","hentry"],"yoast_head":"\n