Portal de Cartagena
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The Mayor, Pilar Barreiro and CEO of Cultural Property, Maria Comas inaugurated on Friday 27 February, the temporary exhibition A Divinis, the classic model Capuz sculpture, which will be in the Roman Theatre Museum until 30 May.
The show revolves around the classic model in the work of religious sculptor, so united to the Holy Week Cartagena.
The exhibition offers a journey through the influence of classical models in the work of Capuz, where the exhibition space of the Museum of the Roman Theatre offers a stage for developing these constant references to the classical world present in the sculptural work of Capuz, and that are visible in both classic and religious images.
The inauguration took place in very near future to Easter makes key to the dissemination and understanding of the work of Capuz item.
Furthermore, it can be seen from two aspects, the power to see the work in the museum and it can be related to religious work these days parade through the streets of our city.
CLASSICAL INFLUENCE IN CAPUZ
If it was customary in the ancient world make deified portraits of the emperor, in which he was clothed in the iconographic attributes that characterized the classical deities, the new Christian art emerged the Edict of Milan use the old formal models profane to configure Christian iconography with a new religious meaning.
Centuries later, when the sculpture of the twentieth century a new figurative look great resort back to the old models to offer a renewed vision of classicism.
In that context sculptors like Jose Capuz they resorted to the study of formal archetypes of Antiquity and did not hesitate to use them as more or less direct references in the conception of its religious imagery.
So it was with the use of plaster cast of a classical bust of s.
II d.
C. to produce the image of San Juan Evangelista for Marrajos Guild of Cartagena, where beyond the clear use of the model, Capuz underlying interest in the classical world and the symbolic values ​​that transposition of the Greco-Roman pantheon to the Christian iconography has contributed since the origin of sacred art.
While staying at the Spanish Academy in Rome, José Capuz receive the influence of classical statuary, not only with direct knowledge of the original Antiquity but also through the creation of the Renaissance, and especially the work of Miguel à ngel, whose memory through the allegory of the Night in the Medici tombs, would emerge years later in his work to make the Virgin of Mercy to Cartagena.
At other times, Capuz goes to the literal quotation of ancient sculpture, or uses the Greek archaic to reinterpret its formal simplification contemporary key, offering works of clear personal style and entroncadas in artistic currents of the moment, as we noted in the Diana the Huntress.
His interest in the classical world is shown in a more spontaneous way watercoloured numerous drawings - some of them included in the sample - in which outlines sculptural compositions subsequent elaborations, and the simple pieces in clay, for classic tanagers, which focuses its work in recent years.
The city of Cartagena, with the most important set of religious work of José Capuz now have the opportunity to enjoy a taste of the private collection of the sculptor, thanks to the invaluable assistance of the Capuz family.
NOTES ON CAPUZ
The figure of Joseph Capuz (Valencia, 1884 - Madrid, 1964) stands out among the sculptors who joined the Spanish sculpture, depleted academicisms and Anas, the winds of modernity without breaking with tradition for it but, rather, offering renewal through a reading of the vanguards sifted with the new currents of classical simplification, among which we find movements such as landlocked noucentisme AristidesMaillol or Catalan.
After an initial training workshop familiar imagery and the School of Fine Arts of San Carlos de Valencia, in 1904 he moved to Madrid to work on a sculpture studio.
In 1906 wins the pension for the Spanish Academy in Rome where the Italian Renaissance would be configured as one of the fundamental references for much of his later work.
In 1912, in Paris, where it contacts the new interpretation of the human figure by Rodin and the revision of, lively, Greek classicism of round shapes, sculpture Bourdelle.
Back in Spain, in 1914 began working religious imagery in the workshops of Felix Granda in Madrid, which will mean the incorporation of a genre like the religious sculpture, rooted in tradition, the artístcas currents of the time.
In 1922 gets the chair of Modelling and Casting at the School of Arts and Crafts in Madrid and in 1924 was elected academician of the Real de San Fernando.
It is at this time that Capuz start getting orders from Marrajos Cartagena, marking forever sculptural language of this brotherhood, for which take place in 1930 his group of Descent, considered by critics as the best work of religious art time.
The realization of urban public works was another area addressed by Capuz with his usual refreshing perspective.
His collaboration with leading architects would allow developing a major sculptural linked to architecture and urban monument.
Capuz manages to create a completely personal and yet unmistakably endowed with a spirit entroncado in contemporary modernity, remaining an indispensable reference in the Spanish panorama of the twentieth century sculptural work.
A Divinis
Curator: José Francisco López Martínez
Directorate General of Cultural Property
Collaboration:
FAMILY CUBILLO-CAPUZ
FAMILY CAPUZ-CAMACHO
FAMILY LÃ "PEZ-AGUIRREBENGOA-Prats
Photos: Moses Ruiz
Source: Ayuntamiento de Cartagena
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