Discover the fascinating connection between Sigmar Polke’s artwork and Francisco Goya’s masterpiece, ‘Time (Old Women)’, in a new exhibition at Spain’s National Museum.
The notion that artists are global shamans, whose opinions shape public discourse on various topics, is a misconception. In reality, some of the most innovative and groundbreaking artists are often those with intense, singular passions. Sigmar Polke was one such artist.
Sigmar Polke was a German artist known for his experimental and provocative works.
Born in 1941, Polke was part of the global Pop Art movement.
He experimented with various mediums, including photography, painting, and film.
His work often combined elements of politics, social critique, and surrealist aesthetics.
Polke's most famous series includes 'Hommage à Apollinaire' (1972) and 'Self-Portrait with Roses' (1988).
Throughout his career, he explored the relationship between art and reality.
Polke‘s fascination with Francisco Goya‘s ‘Time (Old Women)‘ (1810-12) is the central theme of the exhibition ‘Sigmar Polke. Affinities Revealed‘ at the Museo Nacional del Prado. Curated by Gloria Moure, the show features over 40 works by Polke, including paintings, photographs, and drawings.
Francisco Goya was a Spanish romantic painter, born on March 30, 1746, in Fuendetodos, Spain.
He is best known for his bold and expressive use of color and his exploration of the human experience through his art.
Goya's early work was influenced by the Baroque style, but he later developed his own unique style, characterized by dark and moody tones.
He is famous for his series 'The Disasters of War' which depicts the horrors of war and his 'Black Paintings' that adorn the walls of the Prado Museum in Madrid.
A key piece in the exhibition is the Goya painting itself, loaned from the Musée de Lille. This masterpiece, which predates the mysterious Black Paintings that Goya began creating in 1820, is rich with conspiracy theories. The work depicts a decrepit aristocrat being shown her reflection by an elderly servant, while behind her, Chronos prepares to strike her down with a broom.
“Sigmar Polke taking a photograph of the painting ‘Time (Old Women)’ by Goya at the Palais des Beaux-Arts de Lille in 1982.”
Polke‘s first encounter with the work was in 1982, and the exhibition argues that its echoes can be found throughout Polke‘s entire oeuvre. The show highlights how Polke‘s analysis of X-rays revealed alternate permutations of the work, which initially depicted Jesus and a group of angels descending to murder the old woman.
The exhibition makes a strong case for Goya‘s ‘Time (Old Women)‘ as a guiding force in Polke‘s artistic mission. Polke sought to inject density into the world of painting, which was dominated by technology and influence at the time. His works, such as ‘Black Man’ (1982), demonstrate this influence.
Other notable pieces include ‘This is how you sit correctly (after Goya and Max Ernst)’ (1982), which borrows from Plate 26 of Goya‘s Los Caprichos. This work showcases Polke‘s ability to reinterpret and recontextualize existing art, much like his arrangement of flowing clothes and tall headdresses in the Old Women.
The exhibition also features a room dedicated to Polke‘s works inspired by Goya‘s curlicue signature. While it is difficult to say whether these commentaries are on the difficulties of being a great artist, they do add to the mystery and intrigue of the original painting.
‘Sigmar Polke. Affinities Revealed’ is on view at the Museo Nacional del Prado through March 16.
