Shroud

Born in Huesca, Spain, Saura was self-taught as an artist. Between 1953 and 1955 he lived in Paris, where, influenced by late Surrealistic ideas, he developed automatist techniques. However, he quickly became disenchanted by the lack of control inherent in automatism, and, returning to Madrid, reduced his means and imagery to black and white and the human figure respectively.

With Rafael Canoger, Luis Feito and Manolo Millares he co-founded the El Paso group. In both the general approach to painting and basic subject matter, Saura has close affinities to Millares (see no. 177). Much of Saura’s work addresses the omnipresent nature of decay and death in the midst of life. Shroud (no.178) clearly evokes both the veil of Veronica and the shroud of Turin, miraculous imprints of a living body – Christ’s – after death. But in Saura’s twentieth-century vision the head is in a state of decomposition.

Entry taken from Robert and Lisa Sainsbury Collection 3 volume catalogue, edited by Steven Hooper (Yale University Press, 1997).