Canarian painting of the 20th century

New City Hall of Prague & Bratislava Municipal Gallery


Fernando Castro Borrego, Pavel Štěpánek

Coordination: Marcela Tosal
Communication and institutional relations: Andrés Tosal Peláez


Prague, Czech Republic – Bratislava, Slovakia

New City Hall of Prague, Czech Republic
01/07/2010 – 26/08/2010

Bratislava Municipal Gallery, Slovakia
22/04/2010 – 21/06/2010

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 Óscar Domínguez in the 1930s.

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 Domínguez (1906-1957), Jorge Oramas (1911-1935), César Manrique (1919-1992), Manolo Millares (1926-1972), Pedro González (1927), Félix Juan Bordes (1939), Félix Juan Bordes (1939), Juan José Gil (1947) and Juan José Gil (1947), Juan José Gil (1947), Paco Sánchez (1947), Gonzalo González (1950), Fernando Álamo (1952), Carlos Matallana (1956), Juan Gopar (1958), Carmen Cólogan (1959), Cristina Gámez (1964), Pipo Hernández Rivero (1966) and Santiago Palenzuela (1967).

Óscar Domínguez 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 Domínguez 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 Domínguez took part.

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 Domínguez’s career.