{"id":4613,"date":"2024-02-26T23:55:45","date_gmt":"2024-02-27T05:55:45","guid":{"rendered":"https:\/\/fundacionricardomartinez.net\/en-us\/?page_id=4613"},"modified":"2024-02-27T13:50:55","modified_gmt":"2024-02-27T19:50:55","slug":"work-of-the-month-february-2024","status":"publish","type":"page","link":"https:\/\/fundacionricardomartinez.net\/en-us\/work-of-the-month-february-2024\/","title":{"rendered":"Work of the month, February 2024"},"content":{"rendered":"

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From M\u00e9xico to Russia. The tale of a reclining woman<\/h1>\n<\/div>\n\n
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FEBRUARY, 2024<\/h2>\n<\/div>\n<\/div><\/div>
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Zarina Mart\u00ednez <\/h2>\n<\/div>\n
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Evegueny Evtushenko visited M\u00e9xico during the Cultural Olympics in 1968. The Olympic Committee informed Ricardo Mart\u00ednez that the young Soviet poet wished to be acquainted with him. It is likely that Evtushenko had seen works by Ricardo Mart\u00ednez shown at the great exhibition of Mexican Art in Moscow during the early sixties, thus his interest in visiting Martinez.\u00a0<\/span><\/p>\n

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One Saturday in April Evtushenko arrived in Etna 32, where Ricardo Mart\u00ednez worked and lived with his family. The visit lasted all day, at the end of which Ricardo Mart\u00ednez gave Evtushenko the painting which is the subject of this text. Despite its considerable size (90 by 150 cm), Reclining woman in green<\/i>, arrived in Moscow without a scratch.<\/p>\n

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Reclining woman in green<\/i>, 1967<\/p>\n

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Ricardo Mart\u00ednez and Evgueny Evtushenko never met again, but they did send each other friendly messages through unexpected channels. At some stage, Evtushenko wrote to Mart\u00ednez that he always had the painting before him and that it gave him inspiration to write his poetry.<\/p>\n

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Ricardo Mart\u00ednez and Evgueny Evtushenko, 1968<\/p>\n

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After Ricardo Mart\u00ednez\u2019s passing, several attempts were made to contact Evtushenko in Moscow in order to register the painting.\u00a0 <\/span>Evtushenko died in April 2017, almost forty years after his encounter with Ricardo Mart\u00ednez, and it seemed more unlikely than ever to find and have access to the painting.<\/p>\n

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A visit to the Museum of Contemporary Russian History in Moscow at the end of September 2017, surprisingly led to the painting. During his life, Evtushenko had decided to donate his Russian and international art collection to the state and had even designed a gallery, which is nowadays on the same plot as his house in Peredelkino, the writers\u2019 dacha complex outside Moscow, and which is named after him. The gallery is a branch of the History Museum and was thus advertised in an interactive map in the lobby. The map showed different images of the gallery, among them Mart\u00ednez\u2019s work.<\/p>\n

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The Museum director\u2019s secretary very kindly gave me the data of the director of the Gallery in Peredelkino, Nina Naz\u00edrova. I called her immediately and, when I explained my errand, she invited me to visit the gallery the next day. Each one of us told what we knew about that morning in April 1968, which almost forty years later led to another encounter, equally close, between two departed artists\u2026<\/p>\n

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Nina Naz\u00edrova, director of Evgueny Evtushenko Gallery in Peredelkino, Russia, and Zarina Mart\u00ednez, 2017<\/p>\n

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