The exhibition Laxeiro-Luis Seoane. Cruce de camiños. Debuxos 1930-1950 (Laxeiro-Luis Seoane. Crossroads. Drawings 1930-1950) brings together two of the most relevant and influential figures of 20th-century Galician art: Luis Seoane (Buenos Aires, 1910-A Coruña, 1979) and José Otero Abeledo, Laxeiro (Lalín, 1908-Vigo, 1996). Those two artists significantly contributed to the dignification and modernisation of Galician art through the rediscovery, appreciation and dissemination of certain features present in the architecture, traditions, nature and history of Galicia. They used them to create their own iconographies, a combination of all those elements with external influences, from the works of the old masters like Goya or Rembrandt, in Laxeiro’s case, to the European avant-garde movements or new fields like graphic design, in Seoane’s.
The exhibition has been curated by Javier Pérez Buján, director of the Fundación Laxeiro, and by Silvia Longueira, director of the Fundación Luis Seoane. Laxeiro-Luis Seoane. Cruce de camiños. Debuxos 1930-1950 was born from the collaboration between both institutions. It offers a selection of over one hundred illustrations created between 1930 and 1950. Those two decades were crucial to the development and subsequent evolution of their work.
Popular art and traditions, references to medieval architecture, the use of colour as a form of expression and the pursuit of an identity for Galician art are some of the elements that both artists have in common. Their friendship lasted for nearly a decade. In 1934 Seoane, with Carlos Maside’s help, organised Laxeiro’s first solo exhibition in Santiago de Compostela. They reunited long after, when they were both living in exile in Argentina, when Laxeiro took part in an exhibition showing the works of several artists, which was sponsored by the Galician Centre in Buenos Aires and organised by Seoane. However, their careers and interests couldn’t be more different on an artistic and intellectual level. Laxeiro did not care about offering an theoretical explanation of his paintings, but about painting as a fundamental form of expression, painting as a way of life; while for Seoane, the theory and the practice of art were inseparable, as were the multitude of media used to create it.