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Artists Isabel Oliver
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Isabel Oliver

Spanish Painter and Conceptual Artist

Movements and Styles: Pop Art, Conceptual Art, Feminist Art, Modern Photography

Born: 1946 - Valencia, Spain

Isabel Oliver Timeline

Quotes

"I was firmly convinced of how important it was to do this kind of [Pop art] work, but I was also well aware that as a woman I would encounter additional obstacles."
Isabel Oliver
"the university professors who were [feminists] and then those who were not, it was horrible and so I left. They wanted to establish [class] differences and should not have done so. You are a woman, you dedicate yourself to whatever you dedicate yourself. They were 'clasistas,' descriminating by class."
Oliver on abandoning her militant feminism

"I was firmly convinced of how important it was to do this kind of [Pop Art] work, but I was also well aware that as a woman I would encounter additional obstacles."

Synopsis

Isabel Oliver Cuevas was rediscovered in 2015 for her Spanish Pop art work, included in the exhibition The World Goes Pop at the Tate Modern in London, England. Oliver is associated with Spanish pop through her collaboration with the artist collective Equipo Crónica (Chronicle Team), founded in Valencia in 1964 by Rafael Solbes, Manuel (Manolo) Valdés (1942), and Joan Antoni Toledo. They invited Oliver to join them in 1971, when Pop art and the so-called New Figuration was influencing the work of the group.

Oliver collaborated with the Team for four years and, around the same time, she produced the important The Woman series from 1970 to 1973. Through this series Oliver examined popular culture in relation to images of women during the last decade of Franco's regime. Representative of a younger generation of women with feminist attitudes in the seventies, she overtly expressed her political views, taking advantage of Pop art's effects and strategies. Oliver analyzed and criticized the discriminatory situation of Spanish women under Franco's dictatorship, the very political situation in which she was living and of which she was a part.

While the majority of the focus regarding Pop art has centered on American and British artists, the Spanish artist Isabel Oliver provides a good example of one of the many less recognized artists around the world who appropriated Pop art strategies and effects. Additionally, she demonstrates how artists moved beyond their critique of popular culture and sought a deeper understanding of the everyday through an archaeological examination of materials and their traces.

Key Ideas

By manipulating mass media images, in particular from magazines, Oliver critically appropriated history and art, juxtaposed reality and societal norms, individuality and family as well as addressed stereotypes of women propagated in popular culture. These popular images allowed her to comment on the superficial normalcy that women complied with in their daily lives.
Working on an overarching theme, such as The Woman, in a series of images allowed Oliver to represent various aspects of a women's societal, familial, and stereotypical portrayals. Seriality also mimicked the multiplicity of images generated by the mass media, and how images were repeated across different formats from magazines to television.
By the 1990s, Oliver had left "pop" behind and engaged with the concept of time. Using new materials and new everyday objects, she excavated the layers of past and present forms of human creativity, while contemplating the future.

Most Important Art

Isabel Oliver Famous Art

Happy Reunion (1970-73)

Happy Reunion focuses on a group of eleven women sitting in a living room, who laugh and converse with each other. Behind them, a transparent wall reveals surreal scenes taking place in the outside world. The same scene appears in the window to the right of the canvas. While the women are painted in muted tones, the exterior scenes are depicted in vivid and bright colors, featuring a giraffe on fire with flames burning out from its back and neck; a lake, green hills, yellow sand, and white abstract forms resembling horses. In the left corner of the foreground, a red-cloaked skeletal form appears with flowing blond hair and three hands, two skeletal and one made of flesh holding an old-fashioned hourglass that shows that time has run out.

Happy Reunion is a central image of Oliver's iconic series The Woman (1970-73), which examines different aspects of femininity in Franco's Spain. Here, the happy women in the home are presented in stark contrast to the surreal and unsettling scenes of violence and despair in the world outside. Depicted as oblivious to the dangers of the "real world" the women sit in happy ignorance ensconced in their domestic sphere, even as an unsettling figure encroaches on them. By depicting how some middle-class women shielded themselves from reality, Oliver visually draws the viewer's attention to the fake appearance of normalcy that women were expected to maintain.

The Woman series addresses such popular issues as physical appearance (beauty), childhood, and domesticity by manipulating common media generated images. Oliver used her art to make powerful feminist and political statements about the ways Spanish society repressed women during the turbulent years of General Franco's dictatorship in which this series is set.
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Isabel Oliver Artworks in Focus:
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Content compiled and written by Jessica DiPalma

Edited and published by The Art Story Contributors

" Artist Overview and Analysis". [Internet]. . TheArtStory.org
Content compiled and written by Jessica DiPalma
Edited and published by The Art Story Contributors
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