Csornay Boldizsár - Dobos Zsuzsa - Varga Ágota - Zakariás János szerk.: A Szépművészeti Múzeum közleményei 97. (Budapest, 2002)

The Year 2002

meeting point, the Caffè Greco, where they could meet like-minded people at any time, something which was rare in Germany due to the country's decentralised structure. Furthermore, Rome had an international art public made up of scholars and wealthy travellers. The artists jointly explored not only the city of Rome, but also its incomparable surroundings, capturing both in countless sketches. In the unhealthy heat of summer in particular, they fled the city, heading for Tivoli, Olevano, Ariccia and other places in search of motifs. They sketched both the towns and the surrounding landscapes, not forgetting the inhabitants in their characteristic national dress. Several artists, including Joseph Anton Koch, Johann Christian Reinhart and Johann Martin von Rohden remained in Italy permanently, only returning to their homeland on visits. zs. G. GERARDO RUEDA APRIL 11 - JUNE 9, 2002. MARBLE HALL CURATORS OF THE EXHIBITION! PÉTER UJVARi; SONSOLES VALLINA MENENDEZ Gerardo Rueda Salaberry was bom on April 26, 1926 in Madrid. He studied law in the same city, which had finally witnessed his death on May 25, 1996, as well. He had become engaged in painting in his twenties: he took lessons from Angel Minguez, who had initiated him into the techniques of painting. Rueda created his first landcape series in Impressionist style, in 1942. His early works reflect the influence of the Cubist painters. In the works dating from the 1950s, he presented cityscapes of Madrid in the spirit of the Italian metaphysical painters. Later, in the 1960s, monochromy had become the chief characteristic of his work: his bare and radical style came close to the Italian Spazialismo. His "stretcher period" began around 1965, when he composed his pictures of a number of smaller canvases laid down on the canvas and fixed to the stretcher. Although his style had shown a gradual move towards being more coloured prior to this turn, now he had returned to monochromy, and he made the employment of simple materials and the analysis of light effects on relieflike surfaces one of his permanent themes. In the 1970s, most of his works were strict geometrical and constructivist ones, while, from the 1980s, he used various found objects and slashings in constructing his works (fig. 69).