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BUSQUETS I ODENA, JOSEP

(Fontscaldes 1914 - Barcelona 1998). "Female nude".signed bronze figure. Defects in the marble base.24 x 9 x 7,5 cm.

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BUSQUETS I ODENA, JOSEP

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For sale on Thursday 11 Jul : 16:00 (CEST)
barcelone, Spain
Bonanova Subastas S.L
+34932121808
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PABLO RUIZ PICASSO (Malaga, 1881 - Mougins, France, 1973). "Female nude". Phototype on paper. Edition of 1200 copies. Ed. Cahiers d'Art. Paris, 1948. Dated and located on plate. Measurements: 40 x 28 cm; 54,5 x 42,5 cm (frame). Picasso settled in September 1939 in the town of Royan, a French city located in the department of the Charente-Maritime and in the region New Aquitaine. Two years after having realized the amazing Guernica, and coinciding with the conflict of the Second World War, Picasso chose the free zone and took advantage of the presence of his partner, Marie-Thérese, and his daughter Maya, to take refuge there. He rented a studio on the third floor of the villa "Les Voiliers" and undertook the realization of a carnet de dessins between May 30 and August 22, 1940. Later Picasso would add some studies of Paris made in 1942. The set was published in facsimile format in 1948 by the publisher Cahiers d'Art, in a linen binding. Picasso began his artistic studies in Barcelona, at the Provincial School of Fine Arts (1895). Only two years later, in 1897, Picasso had his first individual exhibition at the café "Els Quatre Gats". Paris was to become Pablo's great goal and in 1900 he moved to the French capital for a brief period of time. When he returned to Barcelona, he began to work on a series of works in which the influences of all the artists he had known or whose work he had seen could be seen. He is a sponge that absorbs everything but retains nothing; he is searching for a personal style. Between 1901 and 1907 he developed the Blue and Pink Stages, characterized by the use of these colors and by their subject matter with sordid, isolated figures, with gestures of sorrow and suffering. The painting of these early years of the twentieth century was undergoing continuous changes and Picasso could not remain on the sidelines. He became interested in Cézanne, and based on his example he developed a new pictorial formula together with his friend Braque: Cubism. But Picasso did not stop there and in 1912 he practiced collage in painting; from that moment on, anything goes, imagination became the master of art. Picasso is the great revolutionary and when all the painters are interested in cubism, he is concerned with the classicism of Ingres. The surrealist movement of 1925 did not catch him unawares and, although he did not participate openly, it served as an element of rupture with the previous, introducing in his work distorted figures with great force and not exempt of rage and fury. As with Goya, Picasso was also greatly influenced by his personal and social situation at the time of his work. His relationships with women, often tumultuous, will seriously affect his work. However, what had the greatest impact on Picasso was the outbreak of the Spanish Civil War and the bombing of Guernica, which led to the creation of the most famous work of contemporary art. Paris was his refuge for a long time, but the last years of his life were spent in the south of France, working in a very personal style, with vivid colors and strange shapes. Picasso is represented in the most important museums around the world, such as the Metropolitan, the MOMA and the Guggenheim in New York, the Hermitage in St. Petersburg, the National Gallery in London or the Reina Sofia in Madrid.

RAMÓN MARTÍ ALSINA (Barcelona, 1826 - 1894). "La model". Oil on canvas. Relined. Without signature. Attached to the back a label of the Sala Parés in Barcelona. It has patches on the back. Measurements: 182 x 89 cm. With the feet wrapped in a cloth that slides down the legs, the model is shown naked and full body but turns her head as if she wanted to hide her identity, while adopting an ambiguous gesture deceptively modest. Martí Alsina's women are of great carnal forcefulness, which here is accentuated by the black background and by the natural size of the figure. The shaping of their limbs is masterly, which gives the anatomy a sculptural cadence but is free of all idealism, making it vivid, spontaneous and sensual. The silky qualities of the jet hair, the luminous modeling of the forms, the perfect roundness of the knees, etc. denote the imprint of a master. Considered today as the most important figure of Spanish realism, Martí Alsina is framed within the European avant-garde of the time. He revolutionized the Spanish artistic panorama of the 19th century, was a pioneer in the study of life drawing and the creator of the modern Catalan school, as well as the master of a whole generation, with disciples of the importance of Vayreda, Urgell and Torrescassana. He began his studies in Philosophy and Literature, alternating them with night classes at the School of Fine Arts in Barcelona until 1848. Once he finished this first apprenticeship and decided to take up painting, he took his first steps in the Maresme region, where he began to earn his living by painting portraits in a naturalistic style and landscapes "à plen air". In 1852 he became a teacher of line drawing at the Escuela de la Lonja in Barcelona, and two years later he began to teach figure drawing, a post he held until the accession to the throne of Amadeo de Saboya. In 1853 he traveled to Paris, where he visited the Louvre and became familiar with the work of Horace Vernet, Eugène Delacroix and French romanticism. Later he would become acquainted with the work of Gustave Courbet, the greatest exponent of realism. In 1859 he was appointed corresponding academician of the Academy of Fine Arts of Sant Jordi in Barcelona. His first important exhibition was the General Exhibition of Fine Arts in Barcelona in 1851. From that moment on he exhibited regularly in Barcelona, Madrid and Paris, and was invited to the Universal Exposition of the French capital in 1889. Among his prizes, the medals obtained in the National Exhibitions of Madrid stand out, third in 1858 with the work "Last day of Numancia" and second in 1860 with his landscape. In his last years he lived in seclusion, focusing his efforts on the search for new forms of expression, with a brushstroke close to impressionism. Among his themes we find numerous landscapes and seascapes, urban views (especially of Barcelona), portraits and human figures, genre scenes, temperamental female nudes, history painting and biblical scenes. On few occasions he dedicated himself to still life, although he also painted some of them. Works by Martí Alsina are kept in the Prado Museum, the Thyssen-Bornemisza, the National Museum of Art of Catalonia, the Museum of Contemporary Art of Barcelona, the Museum of the Abbey of Montserrat and the Museum of l'Empordà, in Figueras.

JOSEP LLIMONA BRUGUERA (Barcelona, 1864 - 1934). "Modèstia", 1891. Polychrome stucco. Signed. Stamped Esteva & Cia, Barcelona. Work cataloged in "Una passejada per l'obra de Josep Llimona, 150 anys", MEAM, 2015, p. 104. Measurements: 42 x 34 x 15 cm. The sculpture "Modèstia" evidences the most personal characteristics of Josep Llimona: the naturalistic idealism, the inclination towards the kind side of reality and, above all, a great delicacy and beauty in his female figures, always slender and innocent, wrapped by a veil of mystery. Josep Limona is remembered as the most important Catalan sculptor of modernism. Trained at the Llotja School in Barcelona, he obtained the pension to go to Rome in 1880. During his stay in Italy he was influenced by Florentine Renaissance sculpture. With the works he sent from there he obtained prizes (gold medal at the Universal Exhibition of Barcelona in 1888), as well as a great reputation. With his brother Joan he founded the Círculo Artístico de Sant Lluc, a Catalan artistic association of religious character (the two brothers were deep believers). Towards the middle of the 90's his style already drifts towards full modernism. He received the prize of honor at the International Exhibition of Fine Arts held in 1907 in Barcelona. From 1900 he focused on his famous female nudes, and in 1914 he created, in collaboration with Gaudí, his impressive "Resurrected Christ". His artistic genius also manifested itself in large public monuments such as the equestrian statue of St. Jordi in Montjuic Park in Barcelona, as well as in works of funerary imagery, such as the pantheons he created for several cemeteries. In addition to exhibiting in Barcelona and other Catalan cities, he exhibited his work in Madrid, Brussels, Paris, Buenos Aires and Rosario (Argentina). He was president of the Board of Museums of Barcelona between 1918 and 1924, and again from 1931 until his death in 1934. Throughout his life he received numerous decorations, including those awarded by the governments of France and Italy. He also received the Gold Medal of the City of Barcelona in 1932, in recognition of his extraordinary work in the development of museum activity. Llimona's work is preserved in the Monastery of Montserrat, the National Art Museum of Catalonia and the Reina Sofia Museum, among others.

PABLO GARGALLO CATALÁN (Maella, Zaragoza, 1881 - Reus, Tarragona, 1934). "Harlequin's Head", 1928. Drypoint on laid paper, copy 9/12. Signed in plate: PG 28. With hand-painted period frame. Presents some lack of polychrome. Some stains on the paper. Measurements: 18 x 13 cm (plate); 22 x 17 cm (paper); 43 x 37 cm (frame). Rare print by the artist. Only one edition of 12 numbered copies was made of this work. The Pablo Gargallo Museum has the original plates of the only four drypoint engravings by Gargallo (Self-Portrait, Harlequin's Head, Female Nude and Ballerina). Pablo Gargallo is considered the precursor of iron sculpture, and learned the technique of forging from his father, who owned a blacksmith shop. In 1888 his family emigrated to Barcelona for economic reasons and there he began his artistic training, in the workshop of the sculptor Eusebio Arnau and in the School of La Lonja, with Venancio Vallmitjana as his main teacher. At the height of Modernism in Barcelona, Gargallo frequented the gatherings of "Els quatre Gats", establishing relationships with artists such as Nonell and Picasso. That is why his first works are influenced by Modernism, as is the case of the decoration of Barcelona buildings that he made in collaboration with the architect Domènech i Montaner, such as the Hospital de la Santa Cruz y San Pablo or the Palau de la Música. In 1903 Gargallo obtained a scholarship that allowed him to travel to Paris to complete his studies. His stay in the French capital was brief, but from then until 1923, when he settled permanently in Paris, his trips there would be frequent. In this city he found the aesthetic formulations of cubism, assimilated its expressive systems and sought the schematism and essentiality of figures and objects, trying to find the authentic three-dimensional expression of the cubist postulates. During these years he began to use metallic materials such as sheet metal, copper and iron. Around 1911-12 he made his first masks, pieces of great simplification made with cut sheet metal, linked to the cubist aesthetic. Using sheet metal, Gargallo began to suggest volumes and exalt the voids through the penetration of light into the interiors. In 1920 he was appointed professor of sculpture at the Escuela Técnica de Oficios Artísticos de la Mancomunidad de Cataluña, a post from which he was removed in 1923 for political reasons. It was then that Gargallo settled permanently in Paris with his wife and daughter. From this moment on his style acquires a very personal dimension, derived from his interpretation of cubism, based on the search for a formal synthesis of the figure in geometric planes always fluid, replacing conventional materials with wrought iron sheets, and introducing a new sculptural language by introducing the void as volume and giving his figures a great expressive dramatism. Pablo Gargallo is currently represented in the museum that bears his name in Zaragoza, the MoMA in New York, MACBA in Barcelona, the Museum of Modern Art in Paris and the Reina Sofia in Madrid, among many others.