The Thyssen exhibits the first exhibition of Rosario de Velasco, a Falangist artist “reborn” thanks to social networks

He Thyssen-Bornemisza National Museum exhibits the first exhibition dedicated to the figurative painter Rosario de Velasco (1904-1991), Falangist militant and “reborn” thanks to the campaign to recover his works that his family has carried out on social networksas reported by the museum’s artistic director, Guillermo Solana during the presentation this Monday, June 17.

The exhibition, available from June 18 to September 15 and which has been curated by the artist’s great-niece, Toya Viudes de Velasco, and Miguel Lusarreta, it has around thirty paintings donated by individuals belonging to the 1920s, 1930s and 1940s. Among them is oil ‘Adam and Eve’ from the Reina Sofía National Art Center Museum, which Solana has renamed ‘Eva and Adam’, since it was the “will” of the artist herself.

Although some of the works were guarded by the family, many others were in private collections and their whereabouts were unknown until Viudes de Velasco began to talk about the project on social networks such as Twitter (X) or Facebook and users contacted them. curators to inform them that they had works by De Velasco.

The message of ‘I am looking for the work of my great-aunt, a missing, brilliant and magnificent painter’, and the granddaughter searching for the work, set social networks on fire. (…) A lot of photographs of paintings that we were looking for began to be shared, and it could have happened that a lender saw his work but did not want to leave it and would have remained silent. But from the first moment we had a magnificent reception, we began to receive emails telling us that they had the paintings and we managed, with Thyssen, to make a selection. Right now we have nearly more than 300 Rosario works located“, assured the commissioner, and then added that they are still searching for two paintings, ‘Bath’ and ‘Circus’.

The paintings have been loaned for display at the Thyssen and the subsequent exhibition at the Museum of Fine Arts of Valencia, collaborator, and although at the moment they have not been purchased, Solana has advanced that it would be “absolutely natural” for a museum to acquire pieces by the artist, “especially” the oil painting ‘Lavanderas’ (1934).

The condition of the paintings has required the restoration of all of them at the hands of the Museum’s team, which “has dedicated itself to cleaning the works and restoring them” to, in addition, participate “in the estimation of the quality” of them, which have arrived from “various parts of Spain”, as explained by Solana.


Despite Falangist militancy, her participation in the Women’s Section before the Spanish Civil War and her detention in the Modelo prison in Barcelona, ​​Commissioner Lusarreta has assured that the artist “was not silenced” by these ideals, and that her “disappearance “because, for De Velasco, painting was about “personal enrichment.”

We do not believe that Rosario was really silenced, neither because she belonged to the Women’s Section, nor because of her initial ideas and variations over the years. We did not think that Rosario was silenced. Upon returning to Barcelona, ​​after the War, with a traumatic process as great as having almost died -her cellmate died-, she had her first daughter and she devoted herself by her own choice to her daughter,” he added. Lusarreta.

Even so, Viudes de Velasco has stressed that her great-aunt “did not support at all” the Franco regime. “When Franco comes to power, she is left in limbo. She is not one of those who has gone into exile, nor does she support that regime at all.. She stays in no man’s land. He receives with great labor those who come from outside, who have had to go into exile. Rosario does not support the Franco regime at all,” she explained.

In the exhibition there are paintings such as ‘Gitanas’, ‘Cosas’ or ‘Portrait of Doctor Luis de Velasco’, belonging to his current of “new objectivity” and other works such as ‘The Massacre of the Innocents’, which correspond to his “expressionist” period, as Solana has stated.

By Editor

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