The sample presented at the Museum of the University of Alicante has been structured into four sections. First, an introductory tour through an interesting and heterogeneous set of churches, from Tangier to Badajoz. Secondly, perhaps the nucleus with the greatest surprises, because in many cases they are unpublished works, it shows the intense collaboration of Arcadio with the National Institute of Colonization (INC). A third section corresponds to the fruitful relationship between Blasco and Luis Cubillo, embodied in several churches in Madrid, such as Nª Sª del Tránsito and San Fernando. Finally, there is a space dedicated to its participation in projects destined to civil works.
This exhibition presents the artistic work that a young Arcadio Blasco (1928-2013) integrated in numerous temples and civil buildings in collaboration with several architects during this period. That is, an Arcadio before Arcadio as author of stained glass wondows, mosaics and ceramic murals, which are shown here in dozens of panels with photographs, in addition to numerous models and preparatory drawings.
An artist of architects with a production that allowed the transfer of discoveries from his mural and craft work to the one destined to an art gallery. And the other way around. At the end of the eighties, Arcadio began a return trip to these works, especially the modest churches of the INC, photographing some of them and leaving gradually their ideological reticences by the nature of the commissions of a religious art in the context of National Catholicism.
This exhibition presents the artistic work that a young Arcadio Blasco (1928-2013) integrated in numerous temples and civil buildings in collaboration with several architects during this period. That is, an Arcadio before Arcadio as author of stained glass wondows, mosaics and ceramic murals, which are shown here in dozens of panels with photographs, in addition to numerous models and preparatory drawings.
An artist of architects with a production that allowed the transfer of discoveries from his mural and craft work to the one destined to an art gallery. And the other way around. At the end of the eighties, Arcadio began a return trip to these works, especially the modest churches of the INC, photographing some of them and leaving gradually their ideological reticences by the nature of the commissions of a religious art in the context of National Catholicism.
