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Eduardo Arroyo

September 17 – October 29, 2022

Installation Views Thumbnails
Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Installation View. Photo: Pierre Le Hors.

Selected Works

Selected Works Thumbnails
Van Gogh sur le billard d'Auvers sur Oise, 2017

oil on canvas

65 x 119 5/8 in. / 165 x 304 cm

Van Gogh sur le billard d'Auvers sur Oise, 2017

oil on canvas

65 x 119 5/8 in. / 165 x 304 cm

Inquire
Ferdinand Hodler et son modèle, 2016

oil on canvas

71 x 87 in. / 180.3 x 221 cm

Ferdinand Hodler et son modèle, 2016

oil on canvas

71 x 87 in. / 180.3 x 221 cm

Inquire
La vie à l'envers. Éléphant. Hommage à Alvar Aalto, 2016

oil and collage on paper

31 1/2 x 25 1/2 in. / 80 x 64.8 cm

La vie à l'envers. Éléphant. Hommage à Alvar Aalto, 2016

oil and collage on paper

31 1/2 x 25 1/2 in. / 80 x 64.8 cm

Inquire
La vie à l'envers ”Paimio”, 2016

oil and collage on paper

31 1/2 x 25 1/2 in. / 80 x 64.8 cm

La vie à l'envers ”Paimio”, 2016

oil and collage on paper

31 1/2 x 25 1/2 in. / 80 x 64.8 cm

Inquire
El retrato de Dorian Gray, 2014

oil on canvas

51 3/8 x 38 1/4 in. / 130.5 x 97.2 cm

El retrato de Dorian Gray, 2014

oil on canvas

51 3/8 x 38 1/4 in. / 130.5 x 97.2 cm

Inquire
Pinocho, 2007

watercolor on paper

28 1/2 x 21 in. / 72.4 x 53.3 cm

Pinocho, 2007

watercolor on paper

28 1/2 x 21 in. / 72.4 x 53.3 cm

Inquire
Pinocho, 2007

watercolor on paper

20 x 16 in. / 50.8 x 40.6 cm

Pinocho, 2007

watercolor on paper

20 x 16 in. / 50.8 x 40.6 cm

Inquire
Pinocho, 2007

watercolor on paper

20 x 16 in. / 50.8 x 40.6 cm

Pinocho, 2007

watercolor on paper

20 x 16 in. / 50.8 x 40.6 cm

Inquire
Mosca, 2007

bronze and stainless steel

15 x 11 1/2 x 5 in. / 38.1 x 29.2 x 12.7 cm

Mosca, 2007

bronze and stainless steel

15 x 11 1/2 x 5 in. / 38.1 x 29.2 x 12.7 cm

Inquire
Fantômas, 2006

collage on paper

34 x 28 in. / 86.4 x 71.1 cm

Fantômas, 2006

collage on paper

34 x 28 in. / 86.4 x 71.1 cm

Inquire
La guerra de dos mundos, 2002

oil on canvas, aluminum and zinc

each panel 78 5/8 x 104 in. / 200 x 265 cm

overall 78 5/8 x 208 5/8 in. / 200 x 530 cm

La guerra de dos mundos, 2002

oil on canvas, aluminum and zinc

each panel 78 5/8 x 104 in. / 200 x 265 cm

overall 78 5/8 x 208 5/8 in. / 200 x 530 cm

Inquire
Mickey, 2002

oil on canvas

9 1/2 x 13 in. / 24.1 x 33 cm

Mickey, 2002

oil on canvas

9 1/2 x 13 in. / 24.1 x 33 cm

Inquire
Chaperon Rouge, 1995

oil on canvas

143 x 104 x 1 3/4 in. / 363.2 x 264.2 x 4.5 cm

Chaperon Rouge, 1995

oil on canvas

143 x 104 x 1 3/4 in. / 363.2 x 264.2 x 4.5 cm

Inquire
Cristóbal Colón, 1992

mixed media and sandpaper collage

13 x 15 1/2 in. / 33 x 39.4 cm

Cristóbal Colón, 1992

mixed media and sandpaper collage

13 x 15 1/2 in. / 33 x 39.4 cm

Inquire
Carlos Gardel, 1991

collage

10 1/4 x 23 3/4 in. / 26 x 60.3 cm

Carlos Gardel, 1991

collage

10 1/4 x 23 3/4 in. / 26 x 60.3 cm

Inquire
Ramoneur, 1980

sandpaper collage

39 1/2 x 35 1/2 in. / 100.3 x 90.2 cm

Ramoneur, 1980

sandpaper collage

39 1/2 x 35 1/2 in. / 100.3 x 90.2 cm

Inquire
Ramoneur, 1979

graphite on paper

41 x 29 1/2 in. / 104.1 x 74.9 cm

Ramoneur, 1979

graphite on paper

41 x 29 1/2 in. / 104.1 x 74.9 cm

Inquire
Peintres aveugles, 1975

oil on canvas

30 x 40 in. / 76.2 x 101.6 cm

Peintres aveugles, 1975

oil on canvas

30 x 40 in. / 76.2 x 101.6 cm

Inquire
Sama de Langreo (Ast) la femme du mineur Pérez Martínez, 1970

oil on canvas

64 1/8 x 51 1/8 in. / 163 x 130 cm

Sama de Langreo (Ast) la femme du mineur Pérez Martínez, 1970

oil on canvas

64 1/8 x 51 1/8 in. / 163 x 130 cm

Inquire
Le billard: carte géographique des bases américaines en Espagne, 1970

oil on canvas

63 3/4 x 78 1/2 in. / 161.9 x 199.4 cm

Le billard: carte géographique des bases américaines en Espagne, 1970

oil on canvas

63 3/4 x 78 1/2 in. / 161.9 x 199.4 cm

Inquire
Van Gogh sur le billard d'Auvers sur Oise, 2017

oil on canvas

65 x 119 5/8 in. / 165 x 304 cm

Van Gogh sur le billard d'Auvers sur Oise, 2017

oil on canvas

65 x 119 5/8 in. / 165 x 304 cm

Ferdinand Hodler et son modèle, 2016

oil on canvas

71 x 87 in. / 180.3 x 221 cm

Ferdinand Hodler et son modèle, 2016

oil on canvas

71 x 87 in. / 180.3 x 221 cm

La vie à l'envers. Éléphant. Hommage à Alvar Aalto, 2016

oil and collage on paper

31 1/2 x 25 1/2 in. / 80 x 64.8 cm

La vie à l'envers. Éléphant. Hommage à Alvar Aalto, 2016

oil and collage on paper

31 1/2 x 25 1/2 in. / 80 x 64.8 cm

La vie à l'envers ”Paimio”, 2016

oil and collage on paper

31 1/2 x 25 1/2 in. / 80 x 64.8 cm

La vie à l'envers ”Paimio”, 2016

oil and collage on paper

31 1/2 x 25 1/2 in. / 80 x 64.8 cm

El retrato de Dorian Gray, 2014

oil on canvas

51 3/8 x 38 1/4 in. / 130.5 x 97.2 cm

El retrato de Dorian Gray, 2014

oil on canvas

51 3/8 x 38 1/4 in. / 130.5 x 97.2 cm

Pinocho, 2007

watercolor on paper

28 1/2 x 21 in. / 72.4 x 53.3 cm

Pinocho, 2007

watercolor on paper

28 1/2 x 21 in. / 72.4 x 53.3 cm

Pinocho, 2007

watercolor on paper

20 x 16 in. / 50.8 x 40.6 cm

Pinocho, 2007

watercolor on paper

20 x 16 in. / 50.8 x 40.6 cm

Pinocho, 2007

watercolor on paper

20 x 16 in. / 50.8 x 40.6 cm

Pinocho, 2007

watercolor on paper

20 x 16 in. / 50.8 x 40.6 cm

Mosca, 2007

bronze and stainless steel

15 x 11 1/2 x 5 in. / 38.1 x 29.2 x 12.7 cm

Mosca, 2007

bronze and stainless steel

15 x 11 1/2 x 5 in. / 38.1 x 29.2 x 12.7 cm

Fantômas, 2006

collage on paper

34 x 28 in. / 86.4 x 71.1 cm

Fantômas, 2006

collage on paper

34 x 28 in. / 86.4 x 71.1 cm

La guerra de dos mundos, 2002

oil on canvas, aluminum and zinc

each panel 78 5/8 x 104 in. / 200 x 265 cm

overall 78 5/8 x 208 5/8 in. / 200 x 530 cm

La guerra de dos mundos, 2002

oil on canvas, aluminum and zinc

each panel 78 5/8 x 104 in. / 200 x 265 cm

overall 78 5/8 x 208 5/8 in. / 200 x 530 cm

Mickey, 2002

oil on canvas

9 1/2 x 13 in. / 24.1 x 33 cm

Mickey, 2002

oil on canvas

9 1/2 x 13 in. / 24.1 x 33 cm

Chaperon Rouge, 1995

oil on canvas

143 x 104 x 1 3/4 in. / 363.2 x 264.2 x 4.5 cm

Chaperon Rouge, 1995

oil on canvas

143 x 104 x 1 3/4 in. / 363.2 x 264.2 x 4.5 cm

Cristóbal Colón, 1992

mixed media and sandpaper collage

13 x 15 1/2 in. / 33 x 39.4 cm

Cristóbal Colón, 1992

mixed media and sandpaper collage

13 x 15 1/2 in. / 33 x 39.4 cm

Carlos Gardel, 1991

collage

10 1/4 x 23 3/4 in. / 26 x 60.3 cm

Carlos Gardel, 1991

collage

10 1/4 x 23 3/4 in. / 26 x 60.3 cm

Ramoneur, 1980

sandpaper collage

39 1/2 x 35 1/2 in. / 100.3 x 90.2 cm

Ramoneur, 1980

sandpaper collage

39 1/2 x 35 1/2 in. / 100.3 x 90.2 cm

Ramoneur, 1979

graphite on paper

41 x 29 1/2 in. / 104.1 x 74.9 cm

Ramoneur, 1979

graphite on paper

41 x 29 1/2 in. / 104.1 x 74.9 cm

Peintres aveugles, 1975

oil on canvas

30 x 40 in. / 76.2 x 101.6 cm

Peintres aveugles, 1975

oil on canvas

30 x 40 in. / 76.2 x 101.6 cm

Sama de Langreo (Ast) la femme du mineur Pérez Martínez, 1970

oil on canvas

64 1/8 x 51 1/8 in. / 163 x 130 cm

Sama de Langreo (Ast) la femme du mineur Pérez Martínez, 1970

oil on canvas

64 1/8 x 51 1/8 in. / 163 x 130 cm

Le billard: carte géographique des bases américaines en Espagne, 1970

oil on canvas

63 3/4 x 78 1/2 in. / 161.9 x 199.4 cm

Le billard: carte géographique des bases américaines en Espagne, 1970

oil on canvas

63 3/4 x 78 1/2 in. / 161.9 x 199.4 cm

Eduardo Arroyo - On View - Marlborough New York

Eduardo Arroyo, Sama de Langreo (Asturias) la femme du mineur Pérez Martínez, 1970
oil on canvas
64 1/4 × 51 1/4 in. / 163 × 130 cm

Press Release

The Directors of Marlborough New York, in collaboration with Galería Marlborough Madrid, are pleased to present a rare exhibition of the Spanish master Eduardo Arroyo. When included in the 1975 exhibition European Painting in the Seventies at the Los Angeles County Museum, curated by Maurice Tuchman, Arroyo declared, “After a nearly total eclipse lasting almost fifteen years, the idea that the United States seems interested again in European painting surprises and fascinates me simultaneously. While in Europe we were constantly kept in touch with every little fact concerning the evolution of any American artistic activity, it seemed that a black out had fallen over the other side of the Atlantic, prohibiting any artistic and cultural interest.”

Given the associations with the earlier artists of the historic avant-garde including Duchamp and Picabia, along with his involvement with Equipo Crónica and Equipo Realidad, Arroyo holds a unique position in the critique, vitality, and global dispersion of American Pop Art. 

The exhibition will feature over seventy works including oil paintings, drawings, watercolors, and sculptures spanning over fifty years of the artist’s career. Arroyo’s work can be separated into two different stages marked by the death of Francisco Franco in 1976: during exile (1958-1976), and post exile (1976-1998). In violent opposition to the dictatorship, Arroyo’s work engages with the Spanish political climate, and he strategically positions his work to take an ironic, yet critical stance. In the context of this presentation, it must be noted that major works by Arroyo, though not widely known in the United States, are considered seminal to post-war European art and Narrative Figuration.

On the occasion of his 2017 exhibition with the Fondation Maeght, its former director, Olivier Kaeppelin, writes about the artist’s idiosyncratic practice:

Eduardo Arroyo, a painter of history, knows that a work of art is—by essence—anti-historical. This is the founding paradox of his work: it allows him to dance with one foot in and one foot out of each realm. He bets on the simultaneous engagement and distance of each subject matter armed with a sense humor and irony that “work” reality by mixing visual planes that lie beyond logical and argumentative geographies. There is no rhetoric in the work of Arroyo, but rather a constellation of ambivalent propositions where irony is weaponized.

Exhibiting since 1961, Eduardo Arroyo’s work has been shown in exhibitions across the globe, including the Neue Gesellschaft für Bildende Kunst, Berlin (1971); The Centre Pompidou, Paris (1982); Solomon R. Guggenheim Museum, NY (1984); Museum für Kunst und Kulturgeschichte, Dortmund, (1987); Institut Valencià d'Art Modern, Valencia (1989); Museo Nacional Centro de Arte Reina Sofía, Madrid (1998) and most recently, held a solo exhibition at Fundación ENAIRE in Santander, Spain (2021-22).

While there are numerous monographs dedicated to the work of Arroyo, few exist in the English language. For that reason, we are also pleased to present a new publication with a text by Sarah Wilson of the Courtauld Institute.

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