Its wire gauze becomes mirrors. More important than what we see in them is what they make us see of ourselves: a mutilating and ambiguous mirror. The light is diffuse. Although the base is Informalist, a play of tension will be built up between the form and its negation, in which the construction will be constantly renewed.

The compartmentalisation of the wire gauze in the picture takes place with an intensity rare in this
type of work. Estanque del Partal was exececuted at the time when, after the Informalist stage had ended a few years previously, it was inserted into the process of the long series of mirrors – whether or not they belonged to the specific series with this title. The two most clearly geometrical squares located at the top are similar, and fulfil the same function that we find, for example in Espejo-caja del tiempo, from 1968, or in círcles in a square, as in Espejo del aleph, from the same year.


  • Title: Pond in the El Partal Gardens
  • Date Created: 1969
  • Place Part Of: Spain
  • Physical Dimensions: w1140 x h1620 mm (Complete)
  • Painter: Manuel Rivera
  • Exhibition: Madrid, Spain
  • Credit Line: Inscription on the back, “Manuel Rivera /Estanque del Partal, 1969 /M. Rivera”
  • Type: Painting
  • Rights: Fundación Banco Santander, www.fundacionbancosantander.com
  • External Link: Fundación Banco Santander
  • Medium: Mixed technique on board

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