Salomé del Campo

Figuration and poetry

Authors

DOI:

https://doi.org/10.24310/Eviternare.vi10.12789

Keywords:

Salomé del Campo, contemporary art, Sevilla, Andalusia, 20th century

Abstract

Salomé del Campo is one of the most outstanding living contemporary artists in Andalusia. A multidisciplinary creator, her works are inspired by the history of art and photography, managing to transmit an immense emotional charge that appeals to the most hidden feelings of the human being. Through her prolific pictorial production and, to a lesser extent, sculpture and ceramics, an artist faithful to her style is contemplated, in a constant formal and thematic investigation. The present work aims to clarify the most significant artistic aspects of the Sevillian artist, closely linked to the cultural context of the time, since in the beginning she developed in an ideal social environment to achieve the artistic independence that characterized her, although for this she had that gradually make their way, configuring a very personal conception of art. The painting of this artist is figurative in nature and open, light, with sketched figures on many occasions. The subjects are very varied, from objects, landscapes, everyday scenes and portraits, to social protest content. His palette will also undergo several changes throughout his artistic career, oscillating between monochrome and the breadth of colors. Finally, the attitude of maintaining an open posture towards European and American currents, without forgetting the local tradition, make Salomé del Campo's creations innovative, emotional and full of an enveloping mysterious character.

Downloads

Download data is not yet available.

Metrics

Metrics Loading ...

Author Biography

Beatriz Romero Chaves, Universidad de Sevilla

Degree in Law (2011), Gr

References

AA.VV. (2017) Aplicación Murillo: Materialismo, charitas, populismo. Sevilla: Espacio Santa Clara, Sala de exposiciones Atín Aya, CICUS, Hospital de la Caridad, Hospital de los Venerables.

Aizpuru, Margarita (1998). Seis: Pilar Albarracín, Salomé del Campo, Mercedes Carbonell, Nuria Carrasco, Victoria Gil, Pepa Rubio. Sevilla: Ayuntamiento de Sevilla, Delegación de Asuntos Sociales, Consejo Municipal de la Mujer.

Centro Andaluz de Arte Contemporáneo (2021). Salomé del Campo. Noches y días. Recuperado de: http://www.caac.es/programa/salome21/frame.htm

Chacón Álvarez, José Antonio (2004). Las rutas del arte contemporáneo en Andalucía. Sevilla: Fundación José Manuel Lara.

Danvila, José Ramón (1986). Última hornada: la joven pintura andaluza. Madrid: Ediciones del Sur.

Del Campo, Salomé (2008). Coincidencias. Sevilla: Galería Weber-Lutgen.

Del Campo, S. (2019). Universidad Internacional de Andalucía. Salomé del Campo: Poética del Derribo. Recuperado de:

http://ayp.unia.es/index.php?option=com_content&task=view&id=448

Delgado, G. (1993). Equipo 57. Madrid: Museo Nacional Centro de Arte Reina Sofía.

Íñiguez, Pepe (1996). Proyecto Delft. Sevilla: Diputación Provincial.

López Moreno, L., & Villaespesa, M. (1993). 100%. Sevilla: Museo de Arte Contemporáneo de Sevilla.

Mad. Antequera (2021). Exposiciones. Recuperado de: https://madantequera.com/exposiciones/

Queralt, R., & Del Valle, G. (1996). A través del dibujo: Sevilla: Museo de Arte Contemporáneo de Sevilla.

Rojas Mix, M., & Lozano Bartolozzi, M. M. (1995). Encuentro de Mujeres Iberoamericanas en Extremadura. Badajoz: Biblioteca Pública.

Sacchetti, E., & Barbancho, J.R. (2010), Arte contemporáneo y sociedad en Andalucía. Actualidad, n º 50, p.14.

Tovar, I. (1985). Ciudad invadida. Sevilla: Centro de Arte Contemporáneo de Sevilla.

Villaespesa, Mar (1993). Múltiplo de 100. Salomé del Campo, Victoria Gil, Pepa Rubio. Sevilla: Universidad de Sevilla.

Published

2021-09-28

How to Cite

Romero Chaves, B. (2021). Salomé del Campo: Figuration and poetry. Eviterna Journal, (10), 153–168. https://doi.org/10.24310/Eviternare.vi10.12789

Issue

Section

Dossier of the students of Art History of the University of Seville