I owe my acquaintance with the work of Oscar Agustin Alejandro Schulz Solari (better known as Xul Solar) to Jorge Luis Borges. Now why would I accept the artistic judgment of a blind man? Fortunately, Xul Solar’s association with Borges goes back to the early 20th century, when the writer still had his sight. In fact, the painter is referenced by name in one of his greatest stories—“Tlön, Uqbar, Orbis Tertius.” On page 23 of the Grove Press edition, we find:
The moon rose over the sea would be written hlör u fang axaxaxas mlö, or, to put it in order: upward beyond the constant flow there was moondling. (Xul Solar translates it succinctly: upward, beyond the onstreaming it mooned.)
Also, Xul Solar illustrated three of Borges’s earlier works: El tamaño de mi esperanza (1926), El idioma de los argentinos (1928), and Un modelo para la muerte (1946). The latter was co-authored by another mutual friend, Adolfo Bioy-Casares.
In Buenos Aires, on Laprida, there is a museum dedicated to Xul Solar, situated in his former home. On my last trip to Argentina, I had the good fortune to visit it. When next I go to Argentina—and I dearly hope I can—I intend to visit it again.
What I like most about Xul Solar’s work is its depiction of strangely beautiful and bizarre places. I do not recall many (if any) portraits, but I do remember his many landscapes and cityscapes.
Xul Solar is not widely known outside of Argentina, though I think he is one of the world’s greatest surrealist painters. The painter was born in Latvia in 1887 and died in 1963, just as his friend Jorge’s vision went into an irreparable decline.