POP ART (1964-1967)

 

1964 was a key year for Anzo. He was one of the founding members of the Valencian collective Estampa Popular and his works were listed in the trend Crónicas de la realidad.

 

He separated from Estampa Popular in order to immerse himself in the figurative Pop Art. There is an obvious tendency to use new image techniques related to mass media; there is a desire to communicate, which uses apparent humor or critical irony to impart knowledge of the social testimony full of content and commitment.

 

With paintings from 1964 including El Santo en TV, Los fumadores, Dirección prohibida, Campaña contra el hambre, El fugitive, Los Tele Mitos or S.M. El Viti Anzo, convinced of the critical approach he was following, became the true introducer of Pop Art to the Valencian artistic circles – the fact which has been emphasized by Simón Marchan.

 

Between 1965 and 1966 his pop language was getting stronger. He was incorporating the bilateral symmetry, collages (temporarily) and elements of anecdote and irony through random characters. In 1965 the Biosca Gallery in Madrid exhibited his unique pop language artworks introduced by Aguilera Cerní for the first time. The paintings from 1965 include Senyoret, compre´m aquest ramillet, La españolada and Vida con muñeca.