Null EERO AARNIO (Helsinki, Finland, 1932) for Asko.

Pair of "Pastille" chairs,…
Description

EERO AARNIO (Helsinki, Finland, 1932) for Asko. Pair of "Pastille" chairs, 1960s. White polyester. They show marks of use. Measurements: 50 x 90 x 90 cm; 30 cm (seat height). The Pastille Chair by Eero Aarnio adopts in our case a timeless white color, thus becoming a true vintage jewel. This iconic chair, designed by the renowned Finnish designer, features a distinctive round shape inspired by the Space Age style, the name given to the period when the space race was launched, starting in 1957 with the launch of Sputnik. This fever to conquer space also reached design, and during the sixties and seventies a decoration model was developed based on an idyllic vision of the future, and on everything to do with spaceships, new technologies and innovative materials. This design won him the American Industrial Design Award. Eero Aarnio was, and still is, one of the pioneers in the use of fiberglass in the design industry. It is a material that allows you to freely create any shape and use the colors you want, resulting in objects that oscillate between function and fun, but always fascinating. Aarnio studied at the Helsinki University of Art and Design (now Aalto University) between 1954 and 1957. In 1962 he set up his own studio, starting his career as an interior and furniture designer, as well as working as a photographer. His first designs had a traditional aesthetic, using local materials such as wicker. However, in the sixties he began his studies with fiberglass, exploring the formal possibilities of this material. In 1962 he created the "Mushroom" stools, and the following year the "Ball Chair", an icon of the pop era with which he won the prestigious ADI award in 1968. His daring and iconoclastic solutions would be embodied in 1968 in the novel "Bubble Chair", a chair that hangs from the ceiling. This innovative design went beyond pop, approaching "spatial" forms and concepts, and using such a novel material as Plexiglas. Color, on the other hand, began to be a prominent element in his production: red, orange or green tones were an indissoluble part of the provocative scenario that constitutes each of his works. At the end of the sixties he would create other chairs, with a clear organic influence, such as the "Pastil Chair", from 1967, a fiberglass chair that can also be used in water, and which won him the American Industrial Design Award. In 1973, taking advantage of the appeal of his designs and especially their colors, he created the "Pony Chair", an exclusive creation for children. Aarnio's production stopped until the 1990s, when he created designs such as the "Formula Chair" (1998) or the "Focus 2" (2002), made of fiberglass. Today, Aarnio's designs are included in the permanent collections of the most prestigious museums, including the Victoria & Albert in London, the MoMA in New York and the Vitra Museum in Weil am Rhein.

EERO AARNIO (Helsinki, Finland, 1932) for Asko. Pair of "Pastille" chairs, 1960s. White polyester. They show marks of use. Measurements: 50 x 90 x 90 cm; 30 cm (seat height). The Pastille Chair by Eero Aarnio adopts in our case a timeless white color, thus becoming a true vintage jewel. This iconic chair, designed by the renowned Finnish designer, features a distinctive round shape inspired by the Space Age style, the name given to the period when the space race was launched, starting in 1957 with the launch of Sputnik. This fever to conquer space also reached design, and during the sixties and seventies a decoration model was developed based on an idyllic vision of the future, and on everything to do with spaceships, new technologies and innovative materials. This design won him the American Industrial Design Award. Eero Aarnio was, and still is, one of the pioneers in the use of fiberglass in the design industry. It is a material that allows you to freely create any shape and use the colors you want, resulting in objects that oscillate between function and fun, but always fascinating. Aarnio studied at the Helsinki University of Art and Design (now Aalto University) between 1954 and 1957. In 1962 he set up his own studio, starting his career as an interior and furniture designer, as well as working as a photographer. His first designs had a traditional aesthetic, using local materials such as wicker. However, in the sixties he began his studies with fiberglass, exploring the formal possibilities of this material. In 1962 he created the "Mushroom" stools, and the following year the "Ball Chair", an icon of the pop era with which he won the prestigious ADI award in 1968. His daring and iconoclastic solutions would be embodied in 1968 in the novel "Bubble Chair", a chair that hangs from the ceiling. This innovative design went beyond pop, approaching "spatial" forms and concepts, and using such a novel material as Plexiglas. Color, on the other hand, began to be a prominent element in his production: red, orange or green tones were an indissoluble part of the provocative scenario that constitutes each of his works. At the end of the sixties he would create other chairs, with a clear organic influence, such as the "Pastil Chair", from 1967, a fiberglass chair that can also be used in water, and which won him the American Industrial Design Award. In 1973, taking advantage of the appeal of his designs and especially their colors, he created the "Pony Chair", an exclusive creation for children. Aarnio's production stopped until the 1990s, when he created designs such as the "Formula Chair" (1998) or the "Focus 2" (2002), made of fiberglass. Today, Aarnio's designs are included in the permanent collections of the most prestigious museums, including the Victoria & Albert in London, the MoMA in New York and the Vitra Museum in Weil am Rhein.

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JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005). Untitled, 1956. Oil on paper adhered to board. Signed, dated and dedicated in the upper left corner. Measurements: 50 x 64 cm; 81 x 97 cm (frame). This oil on paper belongs to an early stage of the artist in which he was interested in formal simplification, influenced by both avant-garde expressionism and Romanesque art. Joan Hernández Pijuan began his training in Barcelona, attending the La Lonja and Sant Jordi Schools of Fine Arts, before completing his studies at the School of Fine Arts in Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a unique position among Spanish artists of recent decades. The strength of his creative individuality places him on the fringes of the successive dominant trends and fashions, but does not prevent us from recognising in his work a profound identification with the aesthetic concerns of his time. Hernández Pijuan began his career practising a tragic expressionism with a strong social charge, and at this time he formed, together with the other members of the Sílex Group, the so-called Barcelona School. In the seventies he simplified his expression to the point of adopting geometric figuration, a style he left behind in the following decade to focus on informalism. In fact, interest in and fascination with this painter's career continues to be as strong as ever, and he is the subject of new exhibitions and public displays of his work. During his lifetime he had solo exhibitions in several Spanish cities as well as in Zurich, Milan, Johannesburg, Cologne, Geneva, New York, Paris and Osaka, among other cities around the world, and in 2003 he was the subject of a major retrospective exhibition at the MACBA in Barcelona, which was subsequently shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle de Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Even after his death his work has continued to be shown internationally, as evidenced by the exhibitions dedicated to his work held at the Flowers Gallery in London (2006), the Cervantes Institutes in New York, Chicago and Lisbon (2007), the Museo de Arte Abstracto Español in Cuenca (2008), the Andres Thalmann Gallery in Zurich (2009), the Baukunst in Cologne (2010), the Altana Kulturstiftung in Bad Homburg (Germany, 2011) and the Museum of Modern Art in Moscow (2012), among many others. Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed a member of the Real Academia de San Fernando in Madrid. In 1981 he received the Premio Nacional de Artes Plásticas, in 1985 the Cruz de Sant Jordi and, in 2004, the City of Barcelona Prize. He was also awarded the Prize of the Directorate General of Fine Arts at the National Exhibition in Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Ljubljana Biennial of Engraving (1965), the International Biennial of Engraving in Krakow (1966) and the "Vijesnik u Srijedu" editorial prize in Zagreb (1970). Hernández Pijuán is represented at the MACBA, the Museum of Spanish Abstract Art in Cuenca, the Reina Sofía in Madrid, the Patio Herreriano Museum in Valladolid and the Basque Museum of Contemporary Art, as well as in foreign centres such as the Guggenheim Museum in New York, the Liaunig (Austria), the Helsinki Museum of Contemporary Art in Helsinki, the Helsinki Museum of Fine Arts in Finland, the Helsinki Museum of Contemporary Art in Finland, the Helsinki Museum of Fine Arts in Finland and the Helsinki Museum of Contemporary Art in Finland, those of Contemporary Art in Helsinki and Luxembourg, the Kulturstiftung in Bad Homburg (Austria), the Yamaguchi Gallery in Osaka (Japan), the Palace of Fine Arts in Brussels, the National Gallery in Montreal, the Museum of Modern Art in Buenos Aires and the Sztuki Museum in Lodz (Poland).