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Helios GomezAvenir (To Come) form Días de Ira (Days of Wrath) — Anti-Fascist Modernism1929-1930
1929-1930
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About the Item
Helios Gomez, 'Avenir', 1929-1930. Signed in the matrix, lower right and numbered '23', upper left corner. Letterpress relief print after the original drawing, with text in black ink on buff, wove paper; the full sheet with margins. Slight toning at the sheet edges, otherwise in very good condition. From the vintage suite of 23 numbered prints, titled in five languages with Spanish verses in linotype. Matted to museum standards, unframed.
As published in 'Días de Ira' (Days of Wrath), a portfolio of 23 drawings and poems on the “Spanish White Terror” by Spanish artist Helios Gómez, his first publication. Accompanied by an introduction by the 'Socialist International' and with a foreword by Romain Rolland. Printed in Berlín in 1930.
Image size 7 13/16 x 5 7/8 inches; sheet size 12 7/8 x 9 1/4 inches.
ABOUT THE ARTIST
"Free art from representational conventions and make it live from its own dynamism; make the spectator feel the emotion of an idea thanks to pure abstract plastic art: that is, in short, my artistic aspiration... I wanted to touch the people through art".
— Helios Gómez.
Helios Gómez (1905–1956) was born in Triana, Seville, into a working-class Calé (gypsy) family. He received his training at the Seville Industrial Arts and Crafts School and the Cartuja factory as a painter and decorator of ceramics. His initial works were published in the anarchist Páginas Libres, and he illustrated books by local authors like Rafael Laffon and Felipe Alaiz. In 1925, he showcased his work for the first time at the Kursaal in Seville, followed by exhibitions in Madrid at the Ateneo and in Barcelona at the Dalmau Gallery the subsequent year.
Gómez became increasingly aware of the need for political change, aligning himself with anarchist groups and committing to express his political beliefs through his art, writing, and speeches. His artistic career allowed him some acceptance in broader Spanish society, which still primarily viewed Romani identity as acceptable only through creative expression. Unfortunately, anti-Romani sentiment persisted, reflected in critical reviews and media coverage.
His early illustrations for anarchist writer Felipe Alaiz and exhibitions at radical spaces like Café Kursaal marked the beginning of his activism. In 1927, due to his political involvement, he had to flee Spain and travel across Western Europe, connecting with avant-garde art movements and the labor movement. This experience significantly influenced his work, which incorporated elements of cubism, expressionism, and futurism. Upon returning to Spain in 1930, he settled in Barcelona and collaborated as a printmaker with the Confederación Nacional del Trabajo.
Gómez later renounced anarchism and joined the Communist Party of Spain (PCE), believing that the international communist movement was the most effectively organized force opposing the rise of fascism. He participated in communist rallies and was imprisoned in Barcelona's Model prison. During the Spanish Civil War, he fought with the Communist Party. He gave an interview to the leftist magazine Crónica, where he spoke about the anti-fascist cause and praised the Soviet Union for its integration of Romani people. By 1938, he had rejoined the anarchist movement and worked on the design of the newspaper El Frente. After fleeing the country during the Nationalists' Catalonia Offensive, he was interned in French concentration camps.
In the aftermath of the war, as details of the Romani Holocaust started to emerge, he embraced his Romani identity more openly, especially after his imprisonment under the Franco dictatorship. He spent time in Model prison from 1945 to 1946 and again from 1948 to 1954, during which he focused on writing. He produced two essays, including one on Romani art, two historical novels, an autobiographical epic poem titled ‘Erika’, and over 100 poems, embedding Romani themes throughout his work. His poetry was published posthumously in 2006 as part of the ‘Poemas de lucha y sueño' collection.
Recognized primarily for his graphic art, historians María Sierra and Juan Profundo emphasize his significant role in visually representing Spanish workers and anti-fascist themes during the 1930s. Along with Mariano R. Vázquez, Gómez exemplified Romani involvement in the Spanish anarchist movement.
His son, Gabriel Gómez, has been instrumental in recovering and promoting Helios Gómez's works through the Associació Cultural Helios Gómez. His art is represented in the collections at Yale University, Württembergischer Kunstvere in Stuttgart, Germany, and Museu Nacional d'Art de Catalunya in Barcelona, Spain.
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