Null MANUEL CASTRO (Cordoba, 1944 - Barcelona, 2020).
"Metropolis" 2002.
Oil on …
Description

MANUEL CASTRO (Cordoba, 1944 - Barcelona, 2020). "Metropolis" 2002. Oil on panel. Signed in the lower right corner, signed and titled on the back. Measurements: 162 x 114 cm. Manuel Castro was a singular artist, who was represented by the Barnadas gallery in Barcelona. The latter wrote about the artist: "By generation he should have been an abstract painter, but he stubbornly followed his path towards a personal and narrative figuration". Manuel Castro has been present since the beginnings of the Barnadas gallery, starting with an exhibition of engravings in 1993, followed by multiple solo and group exhibitions, as well as successful appearances at international fairs such as Miart (Milan) or Start (Strasbourg). With a nostalgic and dreamy look, Castro, through his work, tells us that it is important to look at reality with criteria, from a certain prism, where beauty, be it a landscape, a tapestry or a library, endures the passage of time. Already in the 1960s his language was figurative, moving away from the prevailing abstract expressionism. Castro reincarnates the model of the free-spirited artist, not for the rebellious cry of a more or less groundbreaking work, but to follow his own rhythm with courage and talent and, without influences, to create his consistent legacy. His work is in the Vilacasas Foundation.

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MANUEL CASTRO (Cordoba, 1944 - Barcelona, 2020). "Metropolis" 2002. Oil on panel. Signed in the lower right corner, signed and titled on the back. Measurements: 162 x 114 cm. Manuel Castro was a singular artist, who was represented by the Barnadas gallery in Barcelona. The latter wrote about the artist: "By generation he should have been an abstract painter, but he stubbornly followed his path towards a personal and narrative figuration". Manuel Castro has been present since the beginnings of the Barnadas gallery, starting with an exhibition of engravings in 1993, followed by multiple solo and group exhibitions, as well as successful appearances at international fairs such as Miart (Milan) or Start (Strasbourg). With a nostalgic and dreamy look, Castro, through his work, tells us that it is important to look at reality with criteria, from a certain prism, where beauty, be it a landscape, a tapestry or a library, endures the passage of time. Already in the 1960s his language was figurative, moving away from the prevailing abstract expressionism. Castro reincarnates the model of the free-spirited artist, not for the rebellious cry of a more or less groundbreaking work, but to follow his own rhythm with courage and talent and, without influences, to create his consistent legacy. His work is in the Vilacasas Foundation.

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