Born July 19, 1932 in Ólafsvík, Iceland
Sainte Agathe, Série spatiale, 1976
Glycerophtalic paint on canvas
Signed and dated on the back on the canvas
95.5 x 67.5 centimeters
Provenance : Private collection
General Catalogue Erró 1974-1986, L’incitation à la création, Fernand Hazan, Bergamo, 1986, described (wrong dimensions 98 x 75 cm) and reproduced at p. 34 under the number 155
"In Houston (October 1976), Erró visits one of NASA's three bases. He is dressed as an astronaut and put in a capsule. He attends training astronauts, sees models on solar energy and obtains many documents that he will use for the realization of the space series, started in 1974 and resumed during his stay in Bangkok at the beginning of the year 1976 "Danielle Kvaran, in Erró. Art and life, Editions Hazan, Paris, 2017, p. 244
In Paris in September 1977, Galerie Beaubourg presents the exhibition Erró Space Program.
The same year, Otto Hahn wrote: "Lautréamont imagined the meeting of an umbrella and a sewing machine on a dissection table: this poetic vision could serve as an epigraph for every painting of Erró. The absurd and the jester spring from the collusion of images.
It is in the history of art that Erro attacks in his recent works. Astronauts interfering in the most famous paintings of Ingres, Boucher and David. Space rushes to conquer museums, odalisques languish in the cosmos.
A versatile painter, Erró juggles styles and eras. The technique of hyperrealism is as familiar to him as that of classical painting. This versality in the manner, together with the multiplicity of its inspiration, delivers the secret of Erró's talent: its originality arises from the accumulation of borrowing. "
Pierre Nahon of the Beaubourg Gallery explains: "In this new series, which he had been secretly working on for two years, the Space Program (Erró) related the mechanical character of space explorers, caged in their metallic combination, with sensuality. languid women painted by Ingres. It was for Erró to coexist two irreducible, not to say hostile, worlds of virile competition and that of female contemplation. His works were in line with his great political, socio-cultural concerns and he continued to draw his conclusion through an iconographic investigation in space and time. Accumulating inventories of impulses, desires, needs, Erró makes additions whose sum equals zero. It tells terribly complicated stories that everyone can understand. (...) Two types of images meet, two clichés intersect across time and space, and the reality as it is offered to us escapes, and seems illusory. "
Francisco de Zurbaran - Sainte Agathe, 1630-1633, Musée Fabre, Montpellier