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Football World Cup, Spain 1982, Madrid, The goalkeeper.
Eduardo Arroyo1982
The Olympic Museum
Lausanne, Switzerland
A goalkeeper is seen from the back, not moving and mysterious.
This lithography is based on a gouache and acrylic painting “The footballer”, created in 1981 by Eduardo Arroyo.
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Details
- Title: Football World Cup, Spain 1982, Madrid, The goalkeeper.
- Creator Lifespan: 26 February 1937
- Creator Nationality: Spanish
- Creator Gender: Male
- Creator Birth Place: Madrid, Spain
- Date Created: 1982
- Location Created: Spain
- Physical Dimensions: w600 x h950 cm (Complete)
- Painter: Eduardo Arroyo
- Description: Caption "Madrid 1982". Signed: Arroyo lower right. Printing: 18/150.
- Collection information: Portfolio of 15 lithographs produced by contemporary artists who illustrated the Spain 1982 World Cup using their own style. A poster for each host city was commissioned and each lithography represents a Spanish city where the eliminatory matches took place.
- Artistic school or movement: Eduardo Arroyo attended the "Lycée français" and the "Instituto de Nuestra Señora de la Almudena" and finally studied journalism. He left Spain in 1958 to avoid Franco’s regime, settling in Paris. He tried to pursue his journalistic career but he soon discovered that he was far more attracted to the visual world of pictures. In Parisian bars, Arroyo started his art career as caricaturist with colourful narrative figuration infused with socio-political content and caustic wit. Arroyo also dared to caricature established artists such as Dali, Miró and Duchamp, which earned him biting criticism. After Franco’s death in 1976, he returned to Spain, where he was officially honoured. His work developed from expressionism to neofigurative realism, which reflected on the pictorial language and function of painting and the artist’s role in society. He manipulated ready-made images, words and elements derived from commercial art and the work of other painters. Stylistically, Arroyo's mostly ironic, colourful works are at the crossroads between the trends of "nouvelle figuration" or "figuration narrative" and pop art. A characteristic of his representations is the general absence of spatial depth and the flattening of perspective. After the restoration of democracy in Spain, his art seemed to be less tortured by the obsession of his exile and by conflicting history. In 1969 he also worked as a set and costume designer. In 1997, The Olympic Museum, in Lausanne, organised an exhibition of his paintings dedicated to boxing and his “Senefelder Suite”, consisting of 102 engraving prints paying tribute to Aloys Senefelder.
- Type: Poster
- Rights: International Olympic Committee, 2004, ©IOC
- Medium: Lithography
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