Las Meninas nº IX




1981-1983
Acrylic on canvas
219 x 199 cm
Fundación Juan March Collection

Comments


With her works on Velázquez’s Las Meninas and the Alhambra in Granada she generated a process of ‘creation and recreation of the spatial theme. These researches gave rise in the early eighties to the installation projects in which she responds to the need to expand the possibilities of painting by engaging with the surrounding space.

In her Las Meninas series she addresses for the first time the theme of space, with the background, the atmosphere becoming the protagonist. The interior space generated by the angles of the corners and treated on the basis of geometric grids is a closed, enveloping space in which the colour is condensed and the volume starts to create an atmospheric sensation. A figurative work thus provides Soledad Sevilla with the starting point for a reflection on space and on painting in general that negates all figurative or narrative reference, as she herself has said: ‘In my painting I want to avoid figuration. Even when I was painting Las Meninas, Alhambra, Bulls, I started from figurative elements, my interest was not the theme but the representation of space by means of those frames. But I would have liked to have destroyed the narration even more.’ (Yolanda Remero, ‘Una conversación con Soledad Sevilla’, Soledad Sevilla. El espacio y el recinto [exh. cat.]. Valencia, IVAM Centre del Carme, 2001, p. 31).

Soledad Sevilla


Valencia, 1944

She began her career in the late sixties in the field of geometric abstraction, focusing on the module and its infinite variations. At the beginning of the eighties she incorporated installation into her artistic production.