Among the editions that account for the short life of the “New Artists Collection” (see previous post), number 12 is the one that stands out in the collection. Works appeared under the title “Fantastic Art” in an exhibition with the same name that brought together celebrated artists that included Miró, Calder, Picasso, Oteyza and Tâpies. The photographic images in this edition were the work of Carlos Saura, and were commented upon in the introduction by his brother Antonio, the curator of the exhibition.

The widely repeated ‘there is no modernity without tradition’ is substantiated all over again when the editions of these “New Artists” are observed. For those of us that should be grateful to Diego Lara for the curiosity sparked by the Spanish literary magazines that emerged during the course of the last century, this “New Artists Collection” reflects an interest in typographical order, systematic composition and the inclusion of the vignette as an approach to “great illustration”, as Javier García del Olmo wrote in a comment featured in the previous instalment of images in this magazine.

Rereading the colophon from number 12, the one I was referring to at the beginning, recalled the compositions that featured in the closing pages of the magazine “Poetry”, pages that were full of interesting details always accompanying some kind of remarkable image. As Andrés Trapiello wrote from time to time, pages that were “painted” rather than composed, akin to those that make up this collection.