The Evolution of Felo Monzón through 20 paintings

With the celebration of this exhibition to pay tribute to this versatile Canarian creator, a reference in the history of the Canarian art of the 20th century for his vast work and for the interest in the dissemination of art as an educator.

You will be able to enjoy 20 pictorial works made by the artist between 1930 and 1984. In which he executes deep analyzes of color, light, matter and, above all, composition. This is all the result of a voracious appetite for learning.

Different stages

A first trajectory shows signs of expressionism, a time when the indigenous movement emerged. In this sense, it emphasizes ethnic traits, the reality of work and the harshness of rural life. A reflection of this period is the canvas Three Canarian Peasant Women, 1954..

Tres campesinas canarias, 1954

Next, there is a transition towards abstraction to evolve, later, towards kinetic movement. Specifically, he cultivated what is known as optical kineticism where the artist establishes a game with the viewer in which the latter is also a participant in this search for movement. A good example of this interest is reflected in the two Kinetic Boxes that are part of the exhibition.

Caja cinética, 1976

Monzón then adheres to rational principles in his quest for rigor. The influence of Luca Pacioli’s theories and the golden ratio are evident as he combines his passion for geometric rigor with his interest in the colours of his land. To do this, he applies the peeling paint technique and incorporates elements such as lava sands and earth.

Idolos Lavicos, 1952

Something that everyone who knew him insist on appreciating is the commitment he always had with the Canary Islands and democracy. Monzón was a political prisoner for his ties to the Socialist Party. In 1937 he was sent to the prison of Fyffes, Tenerife, for his links with the PSOE at the time of General Franco’s coup.                                                                                  There he will paint a large work that will be the most popular of his indigenous cover, Canarian Composition, 1937.

Despite the time he spent in prison and his deprivation of liberty, he never wanted to leave the Canary Islands because he believed that he had to stay to defend the democracy of art.

Composición canaria, 1937

In this video you will see the image of this great painter and you will be able to hear his original voice towards the end.

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