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artist he eluded figurative nature, he was nonetheless going to die close to nature. This painting is, irrefutably, a vanitas. Across his entire oeuvre, the little rods or sticks in his paintings are always intact, except in the latter works, where they are broken, and instead of following a rational pattern, Barcala used them to trace chaotically scribbled lines, which may be interpreted to be a symbol of the infinite; the scribbling is a bit like the flourish on a will. The horizon in his (by then) distant notes on Las Palmas is broken. There is a sort of regression here to his earlier drawings: he returns to the line on the horizon, although the horizon is fractured. Because in his weakened health he knew that the dark evil winds had begun to blow (one of the texts in Uruguay natural en Punta del Este). Barcala, like his fellow countryman Rafael Barradas before him, may have returned to Montevideo to confront his illness, agony and death. ——o—— Barcala knew that his was hermetic art and admitted: “Yes, of course. You have to feel the order, the subtleties of tiny elements to be able to like and understand the role they play in the work”. He could have subscribed Andréi Tarkovski’s assertion that “an artistic image should be indecipherable”. But a hermetic endeavour calls, in turn, for a viewer willing to make the ascetic effort to be able to understand it. That is why the highest praise for his work came from enthusiasts who were either artists or art critics: Argentinean Sarah Grilo, Rafael Canogar, Gerardo Rueda, Lucio Muñoz, Luis Gordillo, Fernando Huici and Francisco Calvo Serraller, to name a few. 1 Unofficial translation. T.N. 2 Translated from the Spanish. T.N. 3 Re-translated into English from the Spanish text. T.N. 191
FICHA TÉCNICA DE LA EXPOSICIÓN Título Washington Barcala. Retrospectiva Fecha 27 febrero - 27 abril 2003 Comisaria María Martín Organización y producción Fundación César Manrique Número de obras 64 obras Procedencia de las obras Madrid Málaga Montevideo Pontevedra Valladolid Textos del catálogo María Martín y Hdz.-Cañizares Ángel Kalenberg Itinerancia Fundación Telefónica, Madrid Patrocinio Telefónica, S. A.
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WASHINGTON BARCALA
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FUNDACIÓN CÉSAR MANRIQUE PRESIDEN
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Índice Presentaciones . . . . . .
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A mediados de los sesenta, Washingt
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Textos críticos
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Barcala, desde el silencio María M
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do los veía que iban calle arriba
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tico uruguayo, no se había manifes
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geométricas y los números dibujad
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chocante y conseguir así los famos
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Barcala, pintor de los límites Án
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Hacia 1976, en una carta que me dir
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Recién durante el Renacimiento —
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de una mesa; en la derecha, un poci
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la devoción de Barcala por Edouard
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allí emergían los rayos virtuales
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´Esta máquina de escribir [si Mol
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tradiciones del arte uruguayo— la
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46 figuración y no-figuración, en
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Sin embargo, el uruguayo desconfía
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costura será su dibujo. Hasta dond
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iales desparejos (“alguna vez veo
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en el mundo de las ideas, o para lo
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uno es el de las formas matéricas,
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mimesis a un hecho funcional secund
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ciente. Estas cajas de Barcala acas
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otras veces pudiera estar al alcanc
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Obra expuesta
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Sin título c. 1940-45 Acuarela/car
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Chatarra 1960 Témpera/papel 54 x 7
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Collage nº 13 1975 T. mixta/madera
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72 Historia R.A.M. 1976-77 T. mixta
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Sin título c. 1977 T. mixta/madera
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Sin título c. 1977 T. mixta/cartó
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78 Sin título c. 1977-78 T. mixta/
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Sin título c. 1980 T. mixta/papel
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86 Taller de grabado 1980 T. mixta/
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Historia O c. 1980 T. mixta/tela 63
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96 Sin título c. 1980-85 T. mixta/
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Uno contra otro c. 1982 T. mixta/ta
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100 Sin título c. 1985 T. mixta/te
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Sin título c. 1985 T. mixta/tela 4
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Historia 157T. c. 1985 T. mixta/car
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Historia 2N. 1H. c. 1987 T. mixta/p
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Historia B.2.E.S. 1989 T. mixta/car
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El hombre de rojo c. 1990 T. mixta/
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Sin título c. 1990 T. mixta/tela 3
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Círculo muy limpio c. 1991 T. mixt
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Construyendo una cabeza 1992 T. mix
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118 Historia 3C. 1T. 1992 T. mixta/
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Dos círculos, ojo y sol 1992 T. mi
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Óvalo y hombre formándose c. 1992
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Historia B.2N. c. 1992 T. mixta/tel
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Historia C.T.O. c. 1993 T. mixta/te
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Cronología 1920 Nace en Montevideo
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1980 Galería Ruiz-Castillo, Madrid
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Page 129 and 130: 1ª Exposición Premio Blanes, Banc
Page 131 and 132: Casa del Cordón, Sede Social de la
Page 133 and 134: Bibliografía
Page 135 and 136: Arte Guía , nº 17, Guía Mensual
Page 137 and 138: Scienze, Lettere ed. Arti, V Actual
Page 139 and 140: Versión inglesa English version
Page 141 and 142: help organise a showing at the “C
Page 143 and 144: gloom was a thing of the past and c
Page 145 and 146: epresenting both masculine and femi
Page 147 and 148: Barcala did not need large formats
Page 149 and 150: were times of pre-consumer society
Page 151 and 152: which matter, so used, lends its su
Page 153 and 154: Self-portraits (1971-1976) would ra
Page 155 and 156: eflection in the water, in the refl
Page 157 and 158: It is no coincidence that there is
Page 159 and 160: promenade that flanks the south qua
Page 161 and 162: of the country’s painters to plun
Page 163 and 164: artists that I presented in the Jac
Page 165 and 166: Barcala recomposed reality by artic
Page 167 and 168: Rayuela (Hopscotch), as in the Port
Page 169 and 170: with a touch of nihilism so light a
Page 171 and 172: Informalism and Constructivism In t
Page 173 and 174: Barcala often referred to ordered e
Page 175 and 176: memento mori, which proposed a - so
Page 177: After Duchamp, the only possible ap
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