Eudaldo is a nonfigurative painter Chile in news École of Paris (1914 - 1987).
Biography
Eudaldo Morales (Arellano) is born, two years after the surrealist painter Roberto Matta, ten years after the poet Pablo Neruda, the December 12th 1914, with San Javier de Loncomilla, small town of the center of the Chile. Starting from 1945 it does not sign any more its fabrics but of sound only first name, “Eudaldo”.Eudaldo passes its childhood to Talca, starts very young person to draw and paint. With Santiago where it settles in 1935, it attends only a few weeks the School of the Art schools, flees the middle-class medium that it crosses there, is not long in meeting accomplices in the anticonformist mediums of the capital. It is with a group of writers and musicians of avant-garde that it carries out in 1938 its first exposure, in the open air, on one of the principal walks of the city. As of this time day in him a double desire is done which will not cease being reinforced. That of going directly towards the public, making painting a largely opened festival and not a ceremony of affluent initiated, to break the unhealthy bonds of the culture and money. At the same time it is not chance if Eudaldo evokes, in its answers to the questions which on this occasion the journalists ask him, the name of Rivera, one of the symbols of a will of resourcing of the South American painters to the heritage of the cultures précolombiennes. Three other exposures will follow to Santiago where its painting is from the well received start. Eudaldo, which analyzes without kindness the situation of art in Chile, however will leave in 1940 the capital. As a critic Venezuelan will write it later, it “will go its life”, furrowing the grounds of the continent, working and exposing in cultural places each time public. It is a kind of retirement which it achieves then, a pilgrimage with the multiple sources of America, always long-lived in weavings and the potteries, constructions and the tools of an impregnated daily life of the concern of volumes, forms and colors. Eudaldo passes initially nearly three years in Argentine, overflows on the Uruguay and the Brésil. In the north of Argentina, it carries out in 1942 with Cordoba three monumental frescos on social topics, before crossing in 1943 the Bolivia. It stops for a time with the Peru, with Lima, carries out two exposures there, but is not long in taking again the road, exposes to Quito, in Ecuador, with Bogota, in Colombia, 1946 with the Venezuela, with Caracas then, after a turning by Curaçao and the Central America, again in Colombia with Barranquilla. Everywhere the press greets it like one of the hopes of the avant-garde of the South American continent: “one of the painters able and most interesting of the Pacific”. In 1946 Eudaldo returns to work in Lima to prepare there the exposure which marks the following year its return to Santiago after a seven years tour on more 12 000 kilometers with the length of the Andes cordillera.
Santiago is however for Eudaldo only one stage. After a few months it finds Argentina, the artistic mediums of Buenos Aires where it crosses Che Guevara - which is only twenty years old -, then Bolivia and Lima, carrying out with measurement a new cycle of exposures. But, for some time, it wishes to go to Paris. If he refuses with only from of “receiving”, as he said, which made there, undoubtedly has it the hope to be placed there, like good of other painters come from the most various horizons, with the source even of the pictorial creativity, not without coloring it its own origins.
Eudaldo thus embarks for France in September 1949, while passing by Cuba. In Paris it quickly becomes acquainted with Ginés Parra and the Spanish painters with which it exposed, Picasso, Oscar Dominguez, Bores, Clavé, Pelayo. At the same time it binds with Jean Moal and Alfred Manessier, Elvire Jan, discovering the new step that their nonfiguration invents with the modern art. Settling the summer with Alba-the-Roman, in Ardèche, where it accommodates Moal regularly, it meets there the engraver Stanley Hayter and the sculptor Etienne Hajdu. As of 1951 Eudaldo exposes to Paris and in province. Beyond Eudaldo painting starting from 1960 works the Gravure and in 1964 a Tapisserie is carried out according to one of its works by the Plasse Workshops it Caisne which already wove works of Moal, Manessier, Edouard Pignon, Rouault, Gustave Singier and Leon Zack. It takes part in years 1970 in the exposures organized in France to denounce the dictatorship of the general Pinochet. After a last exposure in 1986 to Céret, where he works during the summer since 1970, Eudaldo dies the August 13rd 1987 with Perpignan, rests with Palalda.
Work
Eudaldo, in its first time until in 1949 of “painter of the Pacific”, does not try to transcribe in a realistic way the multiple landscapes which it meets. They are female characters, masculines or, young anonymous couples with the absorptive faces, with the silhouettes graciles, which are in the center of its painting, rider or acrobat sometimes. A critic Colombian qualifies “transparent Surréalisme” the unreal world in which they appear among trees and flowers, starfishes, cocks and dogs, spangled or horses. “An atmosphere of before the fall”, summarizes another, which evokes the simple and humorous world the Primitive ones. Without the painter needing to make them shout their presence in improbable meetings, things and beings, in a fairy-like climate, are returned to the mysterious silence of their pure appearances.Discovering in Paris, in a second phase, the not-figurative approach, Eudaldo does not adopt of it from the start the language. It is through a ripening of several years that it will introduce its personal dialect there. Its paintings, in a climate more directly surréalisant, evolve/move initially in the direction of an increasingly thorough formal stylization, opponent of broad surfaces of contrasted colors. On this dash the line, as of 1951, opens in pure luminous angles, more does not retain the silhouettes of the objects. The feature soon ramifies, the color diversifies. In 1954 it is as the bits of an enigmatic penmanship which strew its fabrics. The following year the tender gray and pinks or greens that Eudaldo in more obscure nets or rougeoyants articulates reveal parents curiously, in the illimitation of space, the instantaneous dazzlings which Bissière was going to paint.
Already starts, in a third stage, to be reinforced the structure of its fabrics. In 1956 in broad strongly built compositions the feature which punctuated the limits of the color densified. Coloured space goes up, drawn up like signal, a hieratic, sharp-edged or spangled graphics, aired windows blue, red or the yellow intense ones. Like, each time differently, the fabrics of the painters of other continents, appreciably arrived about the same time to Paris, refracts their culture original, Chinese or Maghrebian, of Zao Wou-Ki in Mohamed Cherkaoui or Mohammed Khadda, it is far from the Andes the share in him of the Indian that Eudaldo releases in its painting in Paris. These emblems totemic are not long however in being softened, to untie itself in dynamic rates/rhythms which direct them in dashes, swirls and glares, pulverizing the spots of color which ensured their balance to them. Starting from 1960 in fact full ranges cross, in waves or spindles, its fabrics. A new balance is established consequently between the transparencies of the color and the fine articulations of the drawing, running elliptically of beach in beach.
Starting from 1967 the fluid compositions from now on of Eudaldo more distinctly evoke the diffuse presence of the natural, mineral and vegetable world. Its painting is done increasingly luminous thereafter. In the middle of the gray which is for him raising of all the colors, ochers wake up waves of grounds and rocks, some accents of emerald and rust make quiver trees and undergrowth. Slates basalts succeed, with austere rubbles of green valleys. In the two following decades the immense grounds which were familiar to him, the rock of the Cordillera, the clouds, gray sands of the Pacific underlie the imaginary geography which its fabrics do not cease exploring, ensuring him in the nonfigurative movement its single place, strange, of American painter of the new School of Paris. To titrate them Eudaldo forges new words with South American consonances, possible names of cities, mountains or rivers, thus continuing until its death its voyage among the Andes news which painting opens to him.
Judgment
“This world is born from the glance which the painter can pose on very variable fragments of space - as well near as remote, terrestrial that celestial, sailor that woodland - to create another space henceforth marked of his rate/rhythm, his writing, his song. The double sign of the feature and the spot states with force, happiness also, in the work of Eudaldo, the poetic and timeless analogy one transitory moment of the universe. Structure and choreography of the forms and colors - ones and the others rigorously limited inside the same fabric - lead to a work very of plenitude and dash. It is advisable to recognize it finally like one of most beautiful of this time. ”- Georges-Emmanuel Clancier, Eudaldo , Céret, 1986
Selective bibliography
- Calmettes, Eudaldo, Moal, Manessier, Hajdu, Pelayo , Gallery of the Pont-Neuf, Paris, 1963.
- Jean-Pierre Simon, Eudaldo , international Center of contemporary art, Paris, 1975.
- Eudaldo , texts of Georges-Emmanuel Clancier and Michel-Georges Bernard, Sant-Roch Vault, Céret, 1986.
- Michel-Georges Bernard, Eudaldo or the morning of painting , cover and drawings according to Eudaldo, Editions of Orycte, Paris, 1986 (N. p.; 42 p.)
- Daniel Lenoir, Memory of arts in Bas-Vivarais , Castle of Vogue, Vogue, 2001 (36 p.).
- Alba the Roman “Quoted of arts”, artists of the Fifties , European Days of the inheritance, Alba the Roman, 2007.
Internal bond
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