Art in every age has always been an expression of both social and political influence and provocation, capable of deeply characterizing every artistic-social movement that has arisen in every civilization.
It has often been used to spread new knowledge as in trying to express one's economic power; see the great artists at the service of the powerful of the period in which they lived, from the Popes to the great Lordships who held the command of many cities, up to our times. A more contemporary example is Street-art, which has become the public declaration of a social and political unease and has conquered collectors from all over the world. A collector willing to pay large sums to grab a "snatch" of a wall faded by the sun and ruined by the rain.
And this is how art increasingly feels the need to support something that unites us all. First the environment, in order to ensure the survival of every living being present. Man, nature and animals. Hence FIRSTarte's decision to open a page exclusively dedicated to the environment where topics such as ecology, pollution and environmental degradation are dealt with, intersecting their meaning in art, culture and contemporary society. Cultural events and topics on environmental and sustainable development issues. But it is also a place for opinions, comparisons and debates with the aim of respecting moral laws, the environment and human rights.
Art has always played a role in this context, and in this regard, I take this opportunity to tell a beautiful story, where a Spanish artist, named César Manrique, with his passion for reconciling progress with respect for the environment, has been able to pass on an extraordinary life lesson to us.
César Manrique (Arrecife, April 24, 1919 - Teguise, September 25, 1992) was a Spanish artist. He spoke passionately of the rugged and virgin beauty of his island, Lanzarote, the source of his artistic and spiritual impulses. The most significant example of his organic style is represented by an architecture, the Mirador del Rio, a place intended for a restaurant located at the northern end of the island. A work entirely set in the rock with a single element visible on the outside, a stained glass window. It should be remembered that at the end of the work, the workers had to put every rock back in its place, every surface stone, even the lichens that grew on them were religiously preserved.
His sustainability plan between art, architecture and the environment envisaged the creation of special observation centers, cuts to allow tourists to penetrate a primitive environment that otherwise would have rejected them. So he decided to start from Los Jameos del Agua, an underground cave north of Arrecife.
Under his direction, both the access to the cave and the body of water were cleared of debris, while the workers placed hanging pots filled with plants on the ceiling of the cave, planted cacti and built a large and solid staircase. The black walls were not touched, the only note of color came from the orange cushions placed in the room. While the crabs continued to proliferate.
When Los Jameos was inaugurated in 1966 all the islanders were enthusiastic and aware that Manrique's ingenuity would bring good luck to all of them. Later, the artist dedicated himself to restoring the beauty of as many as 50 towns and villages on the island.
However, the popular architecture, originating from the Spanish colonists, was disappearing, suffocated by a hodgepodge of tacky modern styles, where the preferred colors were violent reds, blues and greens. With frequent visits throughout the island, he convinced the villagers that their style of construction was a value to be preserved. And this is how not only the inhabitants but also the entrepreneurs were encouraged to respect the environment and tradition.
Hence, the “Lanzarote” effect: thick walls with no enclosing windows patios interiors to protect them from the winds, low terraced roofs to collect rainwater, once again color returned to all the houses.
With the same care and attention to the environment, he designed - in harmony with the colors of the lava that crossed the well-known area of Montanas del Fuego, where 33 craters had erupted from 1730 to 1736 - a road to offer tourists to visit the places where the force of nature had helped to stop time forever.
Finally, one of his last contributions to the enhancement of the island was the creation of the International Museum of Modern and Contemporary Art, opened in 1976 in the Castle of San José, an XNUMXth century fortress near the port of Arrecife. And finally, with his creative prowess he hung modern paintings on the bare lava walls.
In 1978, the artist received the Ecology and Tourism Prize that West German travel writers give every year to the personality who most distinguished himself in protecting his environment.
This is how sustainability towards the environment has transformed the island of Lanzarote into a work of two masters "God and Manrique".
Art can be a blessing to any place on earth. This advice, if heeded, could save many of God's most beautiful creatures from a future and ever more imminent destruction.
