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The 1991 poster returned to an artist, of international scope, and also returned to politics, as in the Dokoupil poster. this time the orita represented by Mel Ramos (Sacramento, California, 1935) was more explicit and more natural, because it was an integral nude, with a slight mask as the only garment. The exoticism of the parrot, perched on the top of the poster, gives ad aanms eroticism. The palm, as the background of the circle that frames the orita, represented perhaps the closest relationship with the Chicharrero carnival, since the aforementioned bird, although present in many Canarian homes, is not precisely native and therefore representative of these islands. |
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CELESTINO CELSO HERN NDEZ : Half Century of Posters of the Carnival of Santa Cruz de Tenerife. From the Winter Holidays to the Carnivals, 1962-2015. Edition of the Autonomous Organization of Fiestas and Recreational Activities of the City of Santa Cruz de Tenerife with the Sponsorship of Mutua Tinerfe a.2016 |
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Sacramento, California, 1935. Painter Artistic group, school or style : Pop Art. Exhibition synthesis: Bianchini Gallery, New York, 1964. Pop Prints, Museum of Modern Art. New York, 1970. Automobile and Culture, The Museum of Cotemporary Art, Los Angeles, 1984. Mel Ramos - leos, Watercolors, Drawings, Levy Gallery Madrid, Madrid, 1997. Summer Jam, Galerie Burkhard Eikelmann, Dusseldorf, 2004. Mel Ramos: 50 Years of Superheroes, Nudes, and Other Pop Delights, Crocker Art Museum, Sacramento, 2012. Museums and collections: The Whitney Museum of American Art, New York; The Solomon R.Guggenheim Museum, New York: Indianapolis Museum of Art. Indiana; Museum of Contemporary Art, Chicago: The Museum of Modern Art, New York; National Galery of Art, Washington; Smithsonian Institution Washington. |
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