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Beschreibung

EUGENIO GRANELL (A Coruña, 1912 - Madrid, 2001). "Behind the sphinx", 1959. Oil on canvas. Signed in the lower margin, titled and dated on the back. Measurements: 51 x 76 cm; 64 x 88.5 cm (frame). This composition seems to evoke an underwater world of corals and metamorphic forms of all colors and textures. The title takes us into the allegorical plane. Granell resorts to surrealism and evocations of the tropical landscape (in the fifties he was exiled in the Caribbean and Latin America) to compose organic and suggestive abstractions that hide complex concepts related to the difficult political and personal moment he was living. During his stay in Guatemala, Granell absorbed influences from local cultures, which is reflected in his works through motifs and colors that evoke indigenous art and the exuberance of the landscapes. At the same time, the influence of Max Ernst's mossy landscapes, his enchanted forests and biomorphic forms suggesting a secret life can be appreciated. Painter, watercolorist, engraver and sculptor, Eugenio Fernández Granell spent his childhood in Santiago de Compostela, a city that will largely mark his plastic work. Initially inclined towards music, in 1928 he moved to Madrid to study violin at the Escuela Superior de Música. In the capital he frequented intellectual circles linked to Marxism, and finally joined the Partido Obrero de Unificación Marxista in 1935. At the outbreak of the civil war he joined the Republican army, and also directed "El combatiente rojo", the newspaper of his party. However, after the end of the war he was persecuted both by the new regime and by his communist comrades, because of his Trotskyist condition. He went into exile in France in 1939, and after passing through several concentration camps, he went to South America. He settles in the Dominican Republic, where he enters as first violin in the Symphony Orchestra. However, when Trujillo's dictatorship hardened, Fernández Granell left the country to settle in Guatemala, where he worked as a professor at the School of Plastic Arts. When the Guatemalan revolution broke out in 1950, he had to flee again for fear of Stalinist persecution, and this time he arrived with his family in Puerto Rico, where the painter would occupy the chair of Art History in the Faculty of Humanities. However, in spite of this continuous pilgrimage, Fernández Granell continued with his artistic work, holding exhibitions and publishing books of short stories and poetry. In 1956 he meets Marcel Duchamp, who flatters his plastic and poetic art and reinforces him in his surrealist activity. That same year he moved to New York, where he settled permanently. Professor of Spanish Literature at Brooklyn College in the city, at this stage he earned his doctorate in Sociology at the New School for Social Research, with the thesis "Picasso's Guernica. The end of a Spanish era" (1967). Fernández Granell will continue in New York until 1985, when after retiring he returns with his wife to Spain, settling in Madrid. Already widely recognized, he will be awarded outstanding prizes such as the Gold Medal of Fine Arts. Likewise, in 1995, the foundation that bears his name was established in Santiago de Compostela, and which today collects most of his plastic production.

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EUGENIO GRANELL (A Coruña, 1912 - Madrid, 2001). "Behind the sphinx", 1959. Oil on canvas. Signed in the lower margin, titled and dated on the back. Measurements: 51 x 76 cm; 64 x 88.5 cm (frame). This composition seems to evoke an underwater world of corals and metamorphic forms of all colors and textures. The title takes us into the allegorical plane. Granell resorts to surrealism and evocations of the tropical landscape (in the fifties he was exiled in the Caribbean and Latin America) to compose organic and suggestive abstractions that hide complex concepts related to the difficult political and personal moment he was living. During his stay in Guatemala, Granell absorbed influences from local cultures, which is reflected in his works through motifs and colors that evoke indigenous art and the exuberance of the landscapes. At the same time, the influence of Max Ernst's mossy landscapes, his enchanted forests and biomorphic forms suggesting a secret life can be appreciated. Painter, watercolorist, engraver and sculptor, Eugenio Fernández Granell spent his childhood in Santiago de Compostela, a city that will largely mark his plastic work. Initially inclined towards music, in 1928 he moved to Madrid to study violin at the Escuela Superior de Música. In the capital he frequented intellectual circles linked to Marxism, and finally joined the Partido Obrero de Unificación Marxista in 1935. At the outbreak of the civil war he joined the Republican army, and also directed "El combatiente rojo", the newspaper of his party. However, after the end of the war he was persecuted both by the new regime and by his communist comrades, because of his Trotskyist condition. He went into exile in France in 1939, and after passing through several concentration camps, he went to South America. He settles in the Dominican Republic, where he enters as first violin in the Symphony Orchestra. However, when Trujillo's dictatorship hardened, Fernández Granell left the country to settle in Guatemala, where he worked as a professor at the School of Plastic Arts. When the Guatemalan revolution broke out in 1950, he had to flee again for fear of Stalinist persecution, and this time he arrived with his family in Puerto Rico, where the painter would occupy the chair of Art History in the Faculty of Humanities. However, in spite of this continuous pilgrimage, Fernández Granell continued with his artistic work, holding exhibitions and publishing books of short stories and poetry. In 1956 he meets Marcel Duchamp, who flatters his plastic and poetic art and reinforces him in his surrealist activity. That same year he moved to New York, where he settled permanently. Professor of Spanish Literature at Brooklyn College in the city, at this stage he earned his doctorate in Sociology at the New School for Social Research, with the thesis "Picasso's Guernica. The end of a Spanish era" (1967). Fernández Granell will continue in New York until 1985, when after retiring he returns with his wife to Spain, settling in Madrid. Already widely recognized, he will be awarded outstanding prizes such as the Gold Medal of Fine Arts. Likewise, in 1995, the foundation that bears his name was established in Santiago de Compostela, and which today collects most of his plastic production.

Schätzwert 12 000 - 16 000 EUR
Startpreis 6 000 EUR

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URBANO LUGRÍS GONZÁLEZ (La Coruña, 1908-1973). "In the light of the moon", 1965. Ink on paper. With poem by the artist. Size: 44 x 33 cm; 64 x 53 cm (frame). Urbano Lugris began his artistic training under the influence of Nacho Viéitez, a man whose purpose was to encourage the practice of painting in the new generations. He abandoned his studies as a mercantile expert in La Coruña to move to Madrid in 1930, where he joined the Pedagogical Missions, with which he toured several Spanish cities designing costumes and sets for the theater La Barraca. During this period he met Federico García Lorca and Rafael Alberti. During the civil war he participated as a volunteer in the Republican army, going to the front of Asturias. After the end of the war in 1954 he founded in La Coruña the magazine Atlántida, with his friends Mariano Tudela and José Mª de Labra, in which he actively participated, writing articles and poems, as well as numerous illustrations and designing the front cover. In 1965 he moved to Vigo where he died on December 23, 1973. In 1997 the largest exhibition dedicated to Urbano Lugrís, curated by Rosario Sarmiento and Antón Patiño, was held at the Círculo de Bellas Artes in Madrid and at the Auditorio de Galicia in Santiago de Compostela. On the occasion of this exhibition, an important book-catalog of the exhibition was published, as well as a facsimile of the magazine Atlántida. In 2007 the book by Antón Patiño Urbano Lugrís, "Viaje al corazón del océano" (Journey to the heart of the ocean) was published. Lugrís was an almost self-taught painter whose pictorial work reflects a predilection for marine themes, portrayed with an atmosphere of dreamlike and idealized character. His pictures are almost always painted on board in small and medium formats. He was influenced by his godfather, the writer Francisco Tettamancy y Gastón and by concepts of Italian metaphysical painting, especially Carrá and Chirico, and French surrealism, the paintings of Tanguy and Magritte. Some authors wanted to relate him to Dalí, based on the use of blue as the main color in his paintings, but this detail is not taken from the Catalan, but from Platinir.