Westerdahl-Domínguez Collection


Producer: Eduardo Westerdahl, with later additions of documents related to Óscar Domínguez

Geographic Area: Spain, France, Germany, Italy

Related Collections: Beltrán de Heredia CollectionMiguel Logroño CollectionJulio Maruri Collection

Related Topics: SurrealismLa Escuela de Altamira

Related Exhibitions: The Idea of ArtEduardo Westerdahl: la aventura de mirarÓscar Domínguez: una existencia de papelOscar Domínguez: decalcomanías y objetos

In addition to his work as a bank employee, the Canary Island painter, art critic and writer Eduardo Westerdahl (Santa Cruz de Tenerife, 1902-1983), of Swedish father, was an active agitator of the cultural life in Tenerife and in Spain in general during the first third of the 20th century. After collaborating for some tears on the magazine Hespérides, in 1931 he was given the opportunity to make a three-month journey through Europe aimed at improving his knowledge of languages. Heavily influenced by the avant-garde works he had been able to see on his travels, when he returned to Tenerife he founded the legendary Gaceta de arte (Tenerife, 1932-1936), which he directed throughout its four years of existence. Largely due Westerdahl’s international connections, contributors to the Gaceta de arte included such prestigious writers as Le Corbusier, Willi Baumeister, Gertrude Stein, Tristan Tzara, Jean Cassou, Herbert Read, André Breton, Paul Éluard and Benjamin Péret, among many others. During the early post-war years Westerdahl was also one of the participants in the Escuela de Altamira Encuentros, held in Cantabria in 1949 and 1950.

This collection comprises not only documentation relating to Westerdahl’s work as a writer, photographer, publisher of Gaceta de arte and promoter of numerous cultural initiatives, but also documents arising out of his friendship with the painter Óscar Domínguez (Tenerife, 1906 – Paris, 1957). Besides a complete collection of Gaceta de arte (Tenerife, 1932-1936) and of all the editions published with the imprint of that magazine, it also includes a part of Eduardo Westerdahl’s library, as well as original and graphic work by Óscar Domínguez, all the books the latter illustrated – in two cases, the proofs with original drawings. The collection is completed with photographs by Westerdahl himself and other authors, and various sets of correspondence by both Domínguez and Westerdahl.