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His graphic production runs largely
parallel with that of painting; in the engravings, in effect, we find the same themes -
from reality to myth, from sacred subjects to the
secular, brash Maison Tellier -
encountered in the paintings, characterized by a treatment adapted case by case to the
specific nature of the technique being utilized. From the standpoint of language, we can sometimes note an expressive
immediacy - evidently suggested by the dryness of the medium - at times extremely raw and
violently expressive, that is missing in painting, where things are usually more measured
and controlled. Examples are certain figures of boxers, but also, later on, some etchings
of 1962, like La ruffiana and Celestina, At the Café, and others of 1979
like De Bulllion Street, from the portfolio There were no signs. |
