Null Titouan LAMAZOU (born 1955).
Tarapt welet Al Mousser - 2013.
Niger.
Acrylic…

Description

Titouan LAMAZOU (born 1955). Tarapt welet Al Mousser - 2013. Niger. Acrylic and sand on paper. Dimensions: 56x43 cm.

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Titouan LAMAZOU (born 1955). Tarapt welet Al Mousser - 2013. Niger. Acrylic and sand on paper. Dimensions: 56x43 cm.

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JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 2005. Mixed media (oil and assemblage) on canvas. Signed and dated. Measurements: 154,5 x 120 x 5 cm. The use of assemblage linked to experimentation and lyrical abstraction gains ground in Guinovart's paintings in his last period. He returns to his informalist beginnings, but enriches them by investigating the effects of different procedures on unorthodox supports. The strong contrast between blacks, reds, and whites, curled like unleashed waves, suggest storms and other phenomena in which nature reveals itself in all its fervor. Guinovart abstracted from the observation of nature and reflection on the physical properties of painting a unique visual language. Josep Guinovart was trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He soon acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Towards 1957 he began an informalist and abstract tendency, with a strong material presence both by the incorporation of various elements and objects (burnt wood, boxes, waste objects) and by the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

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JOAN JOSEP THARRATS VIDAL (Girona, 1918 - Barcelona, 2001). Untitled, 1993 Mixed media and collage on paper. Signed and dated in the lower margin. Measurements: 50 x 35 cm; 81,5 x 66,5 cm (frame). In this painting with collage on paper made by Tharrats in the nineties, towards the end of his life, we can contemplate the consolidation of a language of informalist roots, which on this occasion stages the symbolic struggle between energy fields materialized in the form of chaotic strokes of calligraphic echoes and gestural impulses. After beginning his training in Béziers (France), in 1935 Tharrats returns to Barcelona and enters the Massana School. He began his artistic activity after the Civil War, in a style that evolved from a certain initial impressionism towards a progressive abstraction, through the influences of Mondrian and Kandinsky. Co-founder of Dau al Set together with Brossa, Ponç, Cuixart and Tàpies, Tharrats made his individual debut in 1949, at the El Jardín galleries in Barcelona. From 1954 he exhibited regularly at the Sala Gaspar in Barcelona, as well as in 1955 in Stockholm and New York, in 1959 at the Biennial of São Paulo, and in Venice at the Biennials of 1960 and 1964. In 1955, after the dissolution of Dau al Set, he participated in the constitution of the Taüll group together with Muxart, Guinovart and his former colleagues Cuixart and Tàpies. Eleven years later, in 1966, he was also a founder of the Association of Contemporary Artists. A pioneer of post-war Catalan avant-gardism, Tharrats evolved from the surrealist-influenced linear abstraction of his Dau al Set period to a richly textured, colorful, free-form informalism. Apart from easel painting, he developed his own version of printmaking techniques ("maculaturas"), and also made posters, book illustrations, murals, stained glass, mosaics, jewelry and opera scenographies. In 1983 he was awarded the Cross of Sant Jordi, and in 1994 the National Prize of Plastic Arts. That same year he joined the Royal Academy of Fine Arts of San Jordi. His work is present in various museums and collections around the world, such as the MoMA and the Guggenheim in New York, the Tate Gallery in London, the MACBA or the Reina Sofia Museum in Madrid.

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