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Two solo exhibitions of works by Miguel Herrero open in Marbella
Toro bravo, 1956. 75,5 x 122 cm. oleo sobre tabla.


MARBELLA.- Susurro Hispánico, Miguel Herrero's solo exhibition takes place simultaneously at the Museo del Grabado Español Contemporáneo and Centro Cultural Cortijo de Miraflores.

This exhibition extols and alludes to the emblematic Spanish History through Miguel Herrero´s eyes, one of the most important artists from the second half of the 20th century and a pioneer in the promotion of the Spanish Culture. Taking the paint and work of one of the biggest authors and diffusers of the Hispanic Language.

Miguel Herrero's peculiar view and impression about tradition, faithful reflection of the emotional and ancestral history of the population, makes the viewer inmmerse in an alive and deep story.

Around 40 artworks are presented with different techniques as oil painting and mixed technique on diverse supports. In the same way, films, photographs, newspaper stories and poems. Inside this artworks the viewer can contemplate works with varied unique themes from Miguel Herrero's artistic history.

Few of the displayed artworks are unprecented and other, with enormous significance in Miguel Herrero's creation, have an extensive temporal space since they were shown in exhibition for the last time.

In this exhibition, artworks selected and took to the museums: National Museum of Nagoya in Japan, Oakland Art Museum in California (USA), International House in Denver (USA), D'Arcy Gallery in New York (USA), Art Alliance in Philadelphia (USA), in 1962, by the Spanish Culture Ministry, are shown and also artworks wich obtained the Gold Medal during the Alexandria Biennial in 1961, exhibition curated by Mr. Luis González Robles.

Miguel Herrero, the Leonardo of the 60's, like Mr. Francisco Umbral mentioned, Miguel Herrero accentuates his renaissance spirit through disciplines as painting, drawing, cinematography and poetry. The author expresses his creativity being a complete artist of renaissance inspiration.

Miguel Herrero's iconography in his work intensifies throughout the years and constitutes a palpable testimony not only of respect and admiration that he feels for his motherland, otherwise his work is object of the artistic border crossing to countries avid to learn about Hispanic Culture.

Miguel Herrero understands that is only possible to know about the essence of time from his knowledge. Once this is achieved, he immerses himself into reality. His personality digs deeply in the interest in the elementary keys and solves the objective founded in the chance of human quotidian existence.

This personality makes him to lead in a unique and very personal work, doing a solid song of his psychology and his artistic inquisitiveness. This exceptional work allowed him to reach unprecedented successes during the 50's and 60's decades, becoming an irreplaceable ambassador of the Spanish culture.

As D. Antonio Manuel Campoy mentioned in the Estafeta Literaria from March 26th, 1966: "His work is unique, it is not similar to any other.

"We know -says Camón Aznar- that in each and every one of his exhibitions we are going to find surprises, not only of theme, but techniques"

During the exhibition tour works of different techniques and themes can be found, making understand his chronological career and his personal "Expressivism". The accents of his paintings reveal his mastery in the arts and the research of the personal human psyche.

The Miguel Herrero Exhibition, Susurro Hispánico begins at the Museo del Grabado Español Contemporáneo with a series of works related to the first creation period of the author. In this first period, his painting is inspired by ‘Costumbrismo’. We can find works such as El Martinete (1947), El Parque (1948), Navidad (1949) and Mercado (1950). These works reflect the activities and cultural environment of Spanish society during a particularly tumultuous period in Spain. Miguel Herrero describes the personality and the character of the population. In this sense, this work is a tribute and reflection of the society of that decade. In the same way, in the selection of work in the Museum, we can contemplate Joven con gato (1954), an important lithograph in three inks that won a national award in the year 1955.

On its cinematographic side, the exhibition includes the screening of the movie Metamorphosis, a free adaptation of the work by Franz Kafka, directed by Miguel Herrero in 1957.

The Exhibition continues at the Centro Cultural Cortijo de Miraflores, with a strong Hispanic character reflected in works about bullfighting and ‘flamenco’. Miguel Herrero is a great creator of these two artistic disciplines and this is reflected in his painting. On bullfighting, this exhibition shows such well known works as Matador (1955), Rejoneador (1963), Figura Taurina (1963) and Toro Negro (1973). On ‘flamenco’, we can see magnificent works such as Farruca and La Seguiriya¸ both from 1958.

During this period Miguel Herrero is a recognised artist now both national and international level but his works about tauromachy brough him between the biggest painters of the tauromachy world like: Goya, Picasso, Zuloaga or Manet.

During his later periods, he seeks the purity and majesty of being by using the cosmos and the female figure as his main source of inspiration. From this period, we find works such as La Dama y el Poema (1982), Dualidad (1982) and Dos Damas Azules (1982).

In his last pictorial works, Herrero represents total beings, pure beings in their shape and soul, who are shown to the viewer as the perfection achieved in the majesty of the cosmos. Works like Multitudes I (1990), Multitudes II (1990) and El Sueño (1991) are perfect examples of this tendency.






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