CARMINA MACEÍN, DEALER AND FRIEND OF THE PAINTER, INVITES BASQUE INSTITUTIONS TO NEGOTIATE THE TRANSFER OF THE WORKS SHE EXHIBITS IN HER HOUSE-MUSEUM IN TANGIER
MAITE REDONDO – Thursday, March 1, 2012 – Updated at 5:38 AM
BILBAO. Carmina Maceín is the daughter of a prominent Madrid doctor who used to take her as a child to spend summers on the French Riviera, and their beach umbrella neighbor turned out to be Pablo Ruiz Picasso. There they met and there they began a friendship that lasted throughout their lives. Proof of this is that Carmina became the sole intermediary between the Spanish State and the brilliant painter from Malaga at the New York International Fair.
“I have always been a restless woman, passionate about art. In this, I coincided with Picasso, and perhaps this is what united us,” Carmina Maceín explains to this newspaper from Tangier, where she lives in her International Art Museum, which bears her name. This woman, who associated with all the great geniuses of the 20th century, including, of course, Picasso, has lived for over 20 years in a house of classic Moroccan architecture, which also serves as a museum, surrounded by nature, paintings, ceramics, and sculptures. The list of works by creators exhibited in this palace located in the Tangier kasbah is endless: Jean-Arp, Azpiazu, Braque, Calder, Chillida, Christo, Otto Cavalcanti, Dalí, Genovés, Matisse, Miró, Miralles, Mesa, Josep Maria Roselló, Salleras, Andy Warhol, Viola, Picasso… Precisely, of this painter from Malaga, possibly the most restless, brilliant, and boundless creator of the 20th century, Maceín preserves a significant amount of work in ceramics, etchings, graphic work…
Picasso never traveled to Gernika, but he painted the most harrowing work about the bombing that no one could have ever created. The Malaga-born artist reflected the horrors of war in black, white, and gray tones. A painting made of dramatic, violated forms, condemned to the absence of color, which make Guernica the political manifesto of the 20th century’s most restless creator. The horror Picasso felt, he vomited onto this canvas, which he painted over the course of a few weeks to hang it in the Paris Exhibition of 1937. “Gernika meant a great deal to Picasso. He was not there, but he reflected what happened like no one else. Gernika owes a lot to Picasso, and Picasso owes a lot to Gernika. I would like the work of his that I own to remain there,” confesses this art dealer and owner of the Museum of Contemporary Art of Tangier.
Carmina Maceín founded the emblematic Skira gallery, an undeniable hallmark of Madrid in the 70s, considered the most important alongside the Juana Mordo gallery. During that period, she established relationships with numerous artists, including Oteiza and Chillida. Coinciding with the Gulf War, she decided to leave Madrid and set up her own museum in the old medina of Tangier. As happened to other artists, she fell in love with the city. “As I have always been so restless, I felt it was time to broaden my horizons. I found Tangier so different from all the cities I had seen before that I decided to live here,” explains this art expert and collector in a telephone interview.
However, she believes it is now time to return to her homeland because, as she confesses, she feels a certain melancholy. “I am getting older, and I would like to return. I have a debt to Picasso, which is why I would like all his work to remain in Gernika. I am making an appeal to try and reach an agreement for all this work to stay in the Basque Country.”
Carmina Maceín, who studied Law and Medicine for three years, decided to leave university upon meeting the Malaga-born painter, an artist for whom she began to feel great admiration. As she explains, she worked intensely to represent him, starting by being his sole intermediary between Franco’s Government and Pablo Picasso himself, from whom she managed (despite their differing political ideologies) to have him represent Spain in the Spanish Pavilion in New York with the three famous paintings of The Painter and His Model, today located in the Reina Sofía Centre in Madrid.
In Carmina’s dream, artists such as the Tarragona-born painter José Mª Roselló Virgili, a disciple of Picasso, also collaborate. In Iruñea, her friend and former colleague at the Skira gallery, Paula Gutiérrez, also supports this long-held aspiration of Carmina’s. “Picasso and Carmina always maintained a special relationship. He was a visceral man, and she is a woman with a very strong character, with great strength. It was logical that they got along well.”
What is Maceín’s aim? “Unfortunately, Guernica cannot be seen in Gernika. It would be wonderful, but, for now, it does not seem likely to happen. Carmina has thought that there could be a small museum in homage to Picasso. She would be willing to reach a financial agreement to cede the works. It’s a matter of discussion. I want to help her make her dream come true.”
SOURCE : http://www.deia.com/2012/03/01/ocio-y-cultura/cultura/picasso-tendria-que-tener-su-museo-en-gernika-supuso-mucho-para-el
CARMINA MACEÍN, DEALER AND FRIEND OF THE PAINTER, INVITES BASQUE INSTITUTIONS TO NEGOTIATE THE TRANSFER OF THE WORKS SHE EXHIBITS IN HER HOUSE-MUSEUM IN TANGIER
MAITE REDONDO – Thursday, March 1, 2012 – Updated at 5:38 AM
BILBAO. Carmina Maceín is the daughter of a prominent Madrid doctor who used to take her as a child to spend summers on the French Riviera, and their beach umbrella neighbor turned out to be Pablo Ruiz Picasso. There they met and there they began a friendship that lasted throughout their lives. Proof of this is that Carmina became the sole intermediary between the Spanish State and the brilliant painter from Malaga at the New York International Fair.
“I have always been a restless woman, passionate about art. In this, I coincided with Picasso, and perhaps this is what united us,” Carmina Maceín explains to this newspaper from Tangier, where she lives in her International Art Museum, which bears her name. This woman, who associated with all the great geniuses of the 20th century, including, of course, Picasso, has lived for over 20 years in a house of classic Moroccan architecture, which also serves as a museum, surrounded by nature, paintings, ceramics, and sculptures. The list of works by creators exhibited in this palace located in the Tangier kasbah is endless: Jean-Arp, Azpiazu, Braque, Calder, Chillida, Christo, Otto Cavalcanti, Dalí, Genovés, Matisse, Miró, Miralles, Mesa, Josep Maria Roselló, Salleras, Andy Warhol, Viola, Picasso… Precisely, of this painter from Malaga, possibly the most restless, brilliant, and boundless creator of the 20th century, Maceín preserves a significant amount of work in ceramics, etchings, graphic work…
Picasso never traveled to Gernika, but he painted the most harrowing work about the bombing that no one could have ever created. The Malaga-born artist reflected the horrors of war in black, white, and gray tones. A painting made of dramatic, violated forms, condemned to the absence of color, which make Guernica the political manifesto of the 20th century’s most restless creator. The horror Picasso felt, he vomited onto this canvas, which he painted over the course of a few weeks to hang it in the Paris Exhibition of 1937. “Gernika meant a great deal to Picasso. He was not there, but he reflected what happened like no one else. Gernika owes a lot to Picasso, and Picasso owes a lot to Gernika. I would like the work of his that I own to remain there,” confesses this art dealer and owner of the Museum of Contemporary Art of Tangier.
Carmina Maceín founded the emblematic Skira gallery, an undeniable hallmark of Madrid in the 70s, considered the most important alongside the Juana Mordo gallery. During that period, she established relationships with numerous artists, including Oteiza and Chillida. Coinciding with the Gulf War, she decided to leave Madrid and set up her own museum in the old medina of Tangier. As happened to other artists, she fell in love with the city. “As I have always been so restless, I felt it was time to broaden my horizons. I found Tangier so different from all the cities I had seen before that I decided to live here,” explains this art expert and collector in a telephone interview.
However, she believes it is now time to return to her homeland because, as she confesses, she feels a certain melancholy. “I am getting older, and I would like to return. I have a debt to Picasso, which is why I would like all his work to remain in Gernika. I am making an appeal to try and reach an agreement for all this work to stay in the Basque Country.”
Carmina Maceín, who studied Law and Medicine for three years, decided to leave university upon meeting the Malaga-born painter, an artist for whom she began to feel great admiration. As she explains, she worked intensely to represent him, starting by being his sole intermediary between Franco’s Government and Pablo Picasso himself, from whom she managed (despite their differing political ideologies) to have him represent Spain in the Spanish Pavilion in New York with the three famous paintings of The Painter and His Model, today located in the Reina Sofía Centre in Madrid.
In Carmina’s dream, artists such as the Tarragona-born painter José Mª Roselló Virgili, a disciple of Picasso, also collaborate. In Iruñea, her friend and former colleague at the Skira gallery, Paula Gutiérrez, also supports this long-held aspiration of Carmina’s. “Picasso and Carmina always maintained a special relationship. He was a visceral man, and she is a woman with a very strong character, with great strength. It was logical that they got along well.”
What is Maceín’s aim? “Unfortunately, Guernica cannot be seen in Gernika. It would be wonderful, but, for now, it does not seem likely to happen. Carmina has thought that there could be a small museum in homage to Picasso. She would be willing to reach a financial agreement to cede the works. It’s a matter of discussion. I want to help her make her dream come true.”
SOURCE : http://www.deia.com/2012/03/01/ocio-y-cultura/cultura/picasso-tendria-que-tener-su-museo-en-gernika-supuso-mucho-para-el
CARMINA MACEÍN, DEALER AND FRIEND OF THE PAINTER, INVITES BASQUE INSTITUTIONS TO NEGOTIATE THE TRANSFER OF THE WORKS SHE EXHIBITS IN HER HOUSE-MUSEUM IN TANGIER
MAITE REDONDO – Thursday, March 1, 2012 – Updated at 5:38 AM
BILBAO. Carmina Maceín is the daughter of a prominent Madrid doctor who used to take her as a child to spend summers on the French Riviera, and their beach umbrella neighbor turned out to be Pablo Ruiz Picasso. There they met and there they began a friendship that lasted throughout their lives. Proof of this is that Carmina became the sole intermediary between the Spanish State and the brilliant painter from Malaga at the New York International Fair.
“I have always been a restless woman, passionate about art. In this, I coincided with Picasso, and perhaps this is what united us,” Carmina Maceín explains to this newspaper from Tangier, where she lives in her International Art Museum, which bears her name. This woman, who associated with all the great geniuses of the 20th century, including, of course, Picasso, has lived for over 20 years in a house of classic Moroccan architecture, which also serves as a museum, surrounded by nature, paintings, ceramics, and sculptures. The list of works by creators exhibited in this palace located in the Tangier kasbah is endless: Jean-Arp, Azpiazu, Braque, Calder, Chillida, Christo, Otto Cavalcanti, Dalí, Genovés, Matisse, Miró, Miralles, Mesa, Josep Maria Roselló, Salleras, Andy Warhol, Viola, Picasso… Precisely, of this painter from Malaga, possibly the most restless, brilliant, and boundless creator of the 20th century, Maceín preserves a significant amount of work in ceramics, etchings, graphic work…
Picasso never traveled to Gernika, but he painted the most harrowing work about the bombing that no one could have ever created. The Malaga-born artist reflected the horrors of war in black, white, and gray tones. A painting made of dramatic, violated forms, condemned to the absence of color, which make Guernica the political manifesto of the 20th century’s most restless creator. The horror Picasso felt, he vomited onto this canvas, which he painted over the course of a few weeks to hang it in the Paris Exhibition of 1937. “Gernika meant a great deal to Picasso. He was not there, but he reflected what happened like no one else. Gernika owes a lot to Picasso, and Picasso owes a lot to Gernika. I would like the work of his that I own to remain there,” confesses this art dealer and owner of the Museum of Contemporary Art of Tangier.
Carmina Maceín founded the emblematic Skira gallery, an undeniable hallmark of Madrid in the 70s, considered the most important alongside the Juana Mordo gallery. During that period, she established relationships with numerous artists, including Oteiza and Chillida. Coinciding with the Gulf War, she decided to leave Madrid and set up her own museum in the old medina of Tangier. As happened to other artists, she fell in love with the city. “As I have always been so restless, I felt it was time to broaden my horizons. I found Tangier so different from all the cities I had seen before that I decided to live here,” explains this art expert and collector in a telephone interview.
However, she believes it is now time to return to her homeland because, as she confesses, she feels a certain melancholy. “I am getting older, and I would like to return. I have a debt to Picasso, which is why I would like all his work to remain in Gernika. I am making an appeal to try and reach an agreement for all this work to stay in the Basque Country.”
Carmina Maceín, who studied Law and Medicine for three years, decided to leave university upon meeting the Malaga-born painter, an artist for whom she began to feel great admiration. As she explains, she worked intensely to represent him, starting by being his sole intermediary between Franco’s Government and Pablo Picasso himself, from whom she managed (despite their differing political ideologies) to have him represent Spain in the Spanish Pavilion in New York with the three famous paintings of The Painter and His Model, today located in the Reina Sofía Centre in Madrid.
In Carmina’s dream, artists such as the Tarragona-born painter José Mª Roselló Virgili, a disciple of Picasso, also collaborate. In Iruñea, her friend and former colleague at the Skira gallery, Paula Gutiérrez, also supports this long-held aspiration of Carmina’s. “Picasso and Carmina always maintained a special relationship. He was a visceral man, and she is a woman with a very strong character, with great strength. It was logical that they got along well.”
What is Maceín’s aim? “Unfortunately, Guernica cannot be seen in Gernika. It would be wonderful, but, for now, it does not seem likely to happen. Carmina has thought that there could be a small museum in homage to Picasso. She would be willing to reach a financial agreement to cede the works. It’s a matter of discussion. I want to help her make her dream come true.”
SOURCE : http://www.deia.com/2012/03/01/ocio-y-cultura/cultura/picasso-tendria-que-tener-su-museo-en-gernika-supuso-mucho-para-el
CARMINA MACEÍN, DEALER AND FRIEND OF THE PAINTER, INVITES BASQUE INSTITUTIONS TO NEGOTIATE THE TRANSFER OF THE WORKS SHE EXHIBITS IN HER HOUSE-MUSEUM IN TANGIER
MAITE REDONDO – Thursday, March 1, 2012 – Updated at 5:38 AM
BILBAO. Carmina Maceín is the daughter of a prominent Madrid doctor who used to take her as a child to spend summers on the French Riviera, and their beach umbrella neighbor turned out to be Pablo Ruiz Picasso. There they met and there they began a friendship that lasted throughout their lives. Proof of this is that Carmina became the sole intermediary between the Spanish State and the brilliant painter from Malaga at the New York International Fair.
“I have always been a restless woman passionate about art. In this, I coincided with Picasso, and perhaps this is what united us,” explains Carmina Maceín to this newspaper from Tangier, where she lives in her International Art Museum, which bears her name. This woman, who associated with all the great geniuses of the 20th century, including, of course, Picasso, has lived for over 20 years in a house of classic Moroccan architecture, which is also a museum, surrounded by nature, paintings, ceramics, and sculptures. The list of works by creators exhibited in this palace located in the Tangier kasbah is endless: Jean-Arp, Azpiazu, Braque, Calder, Chillida, Christo, Otto Cavalcanti, Dalí, Genovés, Matisse, Miró, Miralles, Mesa, Josep Maria Roselló, Salleras, Andy Warhol, Viola, Picasso… Specifically, of this Málaga-born painter, possibly the most restless, brilliant, and boundless creator of the 20th century, Maceín preserves a significant amount of ceramic works, etchings, graphic works…
Picasso never traveled to Gernika, but he painted the most harrowing work about the bombing that no one else could ever have created. The Málaga-born artist reflected the horrors of war in black, white, and gray tones. A painting made of dramatic, violated forms, condemned to the absence of color, which make the Guernica the political manifesto of the 20th century’s most restless creator. The horror Picasso felt he poured out onto this canvas, which he painted over the course of a few weeks to hang it in the 1937 Paris Exhibition. “Gernika meant a great deal to Picasso. He wasn’t there, but he reflected what happened like no one else. Gernika owes a lot to Picasso, and Picasso owes a lot to Gernika. I would like the work of his that I own to remain there,” confesses this art dealer and owner of the Museum of Contemporary Art of Tangier.
Carmina Maceín founded the iconic Skira gallery, an undeniable hallmark of 1970s Madrid, considered the most important alongside the Juana Mordo gallery. During that period, she established relationships with numerous artists, including Oteiza and Chillida. Coinciding with the Gulf War, she decided to leave Madrid and establish her own museum in the old medina of Tangier. Like other artists, she fell in love with the city. “As I have always been so restless, I felt it was time to expand new horizons. I found Tangier so different from all the cities I had seen before that I decided to live here,” explains this art expert and collector in a telephone interview.
However, she believes it is now time to return to her homeland because, as she confesses, she feels a certain melancholy. “I am getting older, and I would like to return. I have a debt to Picasso, and therefore I would like all his work to remain in Gernika. I am making an appeal to try to reach an agreement for all this work to stay in the Basque Country.”
Carmina Maceín, who studied Law and Medicine for three years, decided to leave university after meeting the Málaga-born painter, an artist for whom she began to feel great admiration. As she explains, she worked intensely to represent him, starting by being his sole intermediary between Franco’s Government and Pablo Picasso himself, from whom she managed (despite their differing political ideologies) to have him represent Spain in the Spanish Pavilion in New York with the three famous paintings of Painter and His Model, now located in the Reina Sofía Centre in Madrid.
Artists such as the Tarragona-born painter José Mª Roselló Virgili, a disciple of Picasso, also collaborate in Carmina’s dream. In Pamplona, her friend and former colleague at the Skira gallery, Paula Gutiérrez, also supports this long-held aspiration of Carmina’s. “Picasso and Carmina always maintained a special relationship. He was a visceral man, and she is a woman with a very strong character, with great strength. It was logical that they got along well.”
What is Maceín trying to achieve? “Unfortunately, Guernica cannot be seen in Gernika. It would be wonderful, but, for now, it doesn’t seem there are possibilities of that happening. Carmina has thought that there could be a small museum as a tribute to Picasso. She would be willing to reach a financial agreement to transfer the works. It’s a matter of discussing it. I want to help her so that her dream can come true.”
SOURCE : http://www.deia.com/2012/03/01/ocio-y-cultura/cultura/picasso-tendria-que-tener-su-museo-en-gernika-supuso-mucho-para-el
