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Paula Rego was awarded the Drawing Penagos

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Receives Paula Rego Drawing Penagos 2010 MAPFRE Foundation.

This award recognizes the career of an artist living in his career has paid special attention to drawing. MAPFRE Foundation

delivered on March 22, Penagos Prize Drawing to Paula Rego for her outstanding career and for his contributions to drawing as a genus of the plastic arts, whose style is sometimes compared to that of the illustrations used in the graphic novels or comics.

The prize, a prize of 30,000 euros, was presented by Alberto Manzano, Chairman of the Cultural Institute of MAPFRE FOUNDATION.


During the event, held at the Royal Academy of Fine Arts of San Fernando, the London-based Portuguese artist thanked the MAPFRE FOUNDATION receive this award, which last year was awarded the English artist Antonio Lopez, and noted " I started drawing at age five. When you can draw whatever you want, to punish the good, rewarding bad ... Vengeance is yours, "said the pencil."

Penagos Drawing Prize was established in 1982 in memory of the famous artist Rafael de Penagos (Madrid, 1889-1954), considered the most important representative of the movement renewal that occurs in the field of graphic illustration English during the twenties and thirties.

Since its inception, the Prize Drawing Penagos is still held annually and has been granted to some of the most important artists of our current situation. From 2008 the award, which is entering a new phase, is given in recognition of the career of an artist living in national or international significance that in his career has been devoted to drawing attention to outstanding.

The ceremony took Alberto Manzano, President of the Cultural Institute of MAPFRE Foundation and its Director General, Pablo Jiménez Burillo, Antonio Bonet, President of the Real Academia de Bellas Artes de San Fernando, and Estrella de Diego, Professor of Art History and a member of the jury.

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BLACK SWAN, All for Art

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is easy to see similarities between a film like Black Swan and the famous Roman Polanski's Repulsion (1965), since both share the same need for aesthetics, same hollow wasteland of repression embodied in screen, no filmic representation that allows give a veneer of something that objectifies, that simply uncheck as expected.

Both dramatic tension arises, whose purpose is essentially space obsession, framed it in all its rawness, their limits the thin line which led to the abyss of dementia. Hence, in Darren Aronofsky's film can talk openly about real triumph of the subjective, of successful digression on the self as we have seldom been seen in a movie theater.

Beautiful and disturbing, Black Swan opens his images with an ecstatic dance of the star, shot everything in sequence shot, in which the male figure takes demonic overtones planned throughout the story, and after that, insert the viewer in the fine art of the moving image, we see the protagonist talking to herself in a mirror, explaining the ups and downs of his dream.

What we see, therefore, is not an objective reality, if not perhaps a dream, an emotional tension in which the protagonist subjective reality to make it into art, to make it true. Because of that the film speaks of the need for sacrifice in pursuit of aesthetic perfection, of almost obligation to penetrate the dark recesses of the soul to get the exact representation, the disturbing case explosion of Art.

is where Aronofsky's film is distinguished from that of Polanski, despite their similar starting point. What in the Polish director's film is depicted almost as a documentary portrait of the mental gap that leads to self-destruction, the agony in Black Swan used to explore the space of aesthetic representation, investigating and in urgent need of flogging, mental masturbation of someone obsessed with his own art.

And for that, Aronofsky uses the appeal of the game of mirrors, without incurring repeated. What at first seems a power play within a dance company, which issues come into play as seduction or sex, ends up becoming almost a must own professional stage director, which requires the player to enter its intimacy obfuscated in visceral belly that allows represent the Evil Example
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height, Black Swan keeps its consistency from beginning to end. We do not see at any time the viewer that the protagonist goes, because that's not essential. Doing so would remove at once any hint of unreality, confusion, inner world.

What the film shows us is above all a portrait of the ego, with all its lights and shadows, with all its shortcomings and repression, it is precisely this ego that emerges from the darkness to illuminate a representation that what you see seem true. And that duality between appearance and authenticity, we find that dancer sacrificed, fearful of the world and man, who staggers between its objectives and mental health, forced almost to the dance is completely true. And she succeeds.