Apuntes para el estudio del artista extremeño Pedro Campón

Abstract

La mayor parte de los artistas de principios de siglo XX buscaron, por diversos caminos económicos, la posibilidad de viajar a Madrid y a Roma, sus lugares preferidos como metas artísticas para su formación, unos con iniciativas privadas, Eulogio Blasco, Gustavo Hurtado, Juan Caldera, y otros por ayudas, como Conrado Sánchez Varona, uno de los escasos autores que pudo costearse los estudios gracias a la Beca de la Diputación de Cáceres. Otros como es el caso de Antonio Solís Ávila o Pedro Campón, artistas autodidactas, no sujetos a cánones académicos de formación, no encontraron suficiente apoyo a su creatividad en el ambiente provinciano de Cáceres y a pesar de seguir vinculados a la ciudad, de manera alternativa, desarrollaron su trayectoria vital y artística fuera de Extremadura.

Most of the artists of the early 20th century sought, by various economic means, to travel to Madrid and Rome, their favourite places. economic means, the possibility of travelling to Madrid and Rome, their preferred places for their artistic as artistic goals for their training, some through private initiatives, such as Eulogio Blasco, Gustavo Hurtado, Juan Caldera Blasco, Gustavo Hurtado, Juan Caldera, and others by means of grants, such as Conrado Sánchez Varona, one of the few artists who was able to pay for his studies thanks to a scholarship from the Cáceres of the Diputación de Cáceres. Others, such as Antonio Solís Ávila and Pedro Campón, self-taught artists, not subject to academic training canons, did not find sufficient support for their creativity in the provincial atmosphere of Cáceres and although they remained linked to the city, in an alternative way, they developed their vital and artistic their vital and artistic trajectory outside Extremadura.