In 1949, Enrique Grau (1920–2004) was one of the most promising artists in Colombia, and Jorge Gaitán Durán (1924–1962), who was just 25 years old at the time, was enjoying a brilliant career in the field of art criticism and poetry. In this document, Gaitán Durán critically reviews Grau’s work and, in the process, sheds light on the intersection between literature and the visual arts as modern art takes root in Colombia.
A frequent traveler and consummate researcher, Gaitán Durán had, in fact, been among the most vocal advocates for the introduction of modernism in Colombia. He helped organize the Salón de los XXVI [Salon of the 26] in 1948 and the Salón de Arte Moderno [Modern Art Salon] in 1949. These two exhibitions included the work of several new artists who went on to work within a strictly modern aesthetic. Enrique Grau participated in those salons, where he was one of the most outstanding artists.
This article is of interest because it reviews Grau’s early work from a modern perspective; that is, it considers the formal, technical, and stylistic aspects that make his painting a testimony to his time and an expression of his personality. Gaitán Durán also attempts to divide Grau’s career during that decade into three periods, which is of great help to any researcher. This article is of value both for its profound arguments and its solid criticism, and is a useful resource for anyone who is interested in the work of this Colombian artist.