The organic lasciviousness of art nouveau permeates Antoni Gaudí's 1889 dressing table: The legs twist like tree roots, the cockeyed mirror frame dissolves into coagulated undulations of wood. Photographs, models, and drawings of the deeply Catholic architect's massive church La Sagrada
Familia (still under construction 81 years after his death) conjure up visions of H.P.
Lovecraft's elder godsall fleshy protuberances, jagged spirals, and exuberant maws. Geographically closer to France than Madrid, Barcelona's tradi
tions of visceral Catholicism, economic egalitarianism, and rebelliousness (the city was a center of resistance to Franco's fascism) provided a rich loam for the protean modernism of Picasso and Dali, along with lesser-known painters such as
Hermen Anglada Camarasa, whose images of women in gowns and large hats dissipate into masses of leached color and sharp tonal contrasts. This sprawling, exciting show includes a selection of powerful anti-fascist posters, but it's the 1938 suite of stark red-and-black etchings by Joan Miró that packs the most graphic wallopthe surreal figures are a howl of despair and defiance against the lowering darkness of... More >>>
By Metropolitan Museum of Art
Miró, Miró on the wall:
Black and Red Series, 1938