Carmen Navarra Pruna (1933) - Joven sentada

\Artist: Carmen Navarra Pruna (1933)
Technique: Técnica mixta y college sobre cartón\Signature: Hand signed\Dimensions: 84_64_2_cm
Signed by the artist at the bottom The state of conservation of the painting is acceptable The work is presented framed (it will be sent without glass to avoid possible breakage in transport) Work measures: 73 cm height x 51 cm width. Frame measurements: 84 cm height x 64 cm width. Comment that this painting was reproduced in REVISTART magazine in 2015 in a report that was made (said magazine will be attached to the buyer with the work) Navarra Pruna recounts that, looking in her memory for the moment of her first experience of drawing, she always finds it, in her reminiscences, as if it were something inherent and inseparable from her being. Her imagination, creativity and restlessness stand out in her from a very young age. She confesses that attending the School in S. Justo, she was always chosen to do small drawing and illustration jobs, and nothing gave her greater satisfaction than drawing, writing, creating and imagining. His favorites from those childhood years were characters from fairy tales, princes and princesses -which was what was in style at that time- and he dedicated many of his hours to them. At the age of 11, he won a first National Prize that had been convened by a Publishing House on illustration of stories, and a sewing machine corresponds to such imagination as a prize; it was postwar; It was her first success and at the same time her first great disappointment, since the second prize was a bicycle, which she so longed for; this marked her a bit, since she still remembers it. . . There was another stage later in which she drew images of Virgins and Angels and this led her to work in one of the most important Chrismas publishers in the country —Luis Talleda— and she was dedicated to this for almost thirty years. While his greatest dream would have been to be able to attend a good School of Fine Arts and learn a lot, he had to settle for continuing to work for free and became self-taught. There were not enough means for her training and they were times when a girl could not move freely; there was no possibility of studying at night, at home the schedule to arrive was strict and there was no option for any opening. However, he always drew at all times; even in the childhood of his children he knew how to draw and find hours for his vocation. . . drawing. She is an excellent draftsman who disdains ease, sterile ease, feeling, when she paints, the joy and at the same time the excruciating pain that the great painting masters of other times must have experienced. He paints, he says, for his own satisfaction; for that intimate joy that is experienced overcoming difficulties; for the pleasure that "the torture of painting" produces, putting all his effort into it. He has not been formed, pictorially, in any School, his training being totally self-taught. In her drawings and pastels, she honors the illustrious family name she bears. Despite not being closely related to the painter Pedro Pruna, Carmen's grandfather was from the same town of Mataró as the painter's father; she has always considered herself an admirer, disciple and relative of the great painter. There is something in his drawings —as background— of his homonymous and distant relative. She is one of the cartoonists that currently arouses the greatest interest, when so little importance is attached to correct and careful drawing; in moments of modernity, extravagance and avant-garde chaos where —with rare exceptions— those who do not know how to draw take refuge.