Null Montesol. Javier Ballester Guillén (Barcelona, 1952)
Plaça de Girona.
Mixe…

Description

Montesol. Javier Ballester Guillén (Barcelona, 1952) Plaça de Girona. Mixed media on paper. Signed and dated 2008. 126,5 x 126,5 cm.

1082

Montesol. Javier Ballester Guillén (Barcelona, 1952) Plaça de Girona. Mixed media on paper. Signed and dated 2008. 126,5 x 126,5 cm.

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Estim. 5 000 - 6 000 EUR

MODEST CUIXART I TÀPIES (Barcelona, 1925 - Palafrugell, Girona, 2007). "Secrot", 1992. Acrylic and material on canvas. Work reproduced full page in "Modest cuixart, Human Surgery", Girona Art Museum, 2006, p. 83. Signed, dated and titled on the back. Measurements: 92 x 73 cm; 95 x 76 cm (frame). Work reproduced full page in "Modest cuixart, Cirugía Humana", Museo de Arte de Girona, 2006, p. 83. The choice to highlight this work in the catalog was the artist's choice. Dark colors generate a dense and intriguing atmosphere. However, Cuixart balances both the concept and the composition through various points of color through which he manages to completely capture the viewer's attention, focusing and directing it through the geometric element. Establishing a visual journey that runs through the entire pictorial surface. As the Modest Cuixart Foundation points out "The last stage corresponds to the 90s and is characterized by a return to the sobriety of his best times through an introspection in the subterranean and atavistic nature that demonstrates a great maturity, technical and conceptual". In this particular case the presence of the human figure indicates those first moments of transition between two artistic stages. Cuixart initially studied medicine, but soon abandoned his studies to devote himself to painting, and entered the Academia Libre de Pintura in Barcelona. In 1948 he participated in the foundation of the group Dau al Set, together with Brossa, Ponç, Tàpies and Tharrats, among others. Concerned with the plastic value of the sign, his work has from the beginning a strong kinship with surrealism, as well as a great sensitivity to the expressive power of color. Towards 1955 he immersed himself in material informalism, which led him to use the "grattage" in works with a certain orientalist flavour. In 1959 he won first prize at the São Paulo Biennial and exhibited at the Documenta in Kassel, and the following year he took part in an exhibition of Spanish avant-garde works at the Tate Gallery in London and the Guggenheim Museum in New York. Cuixart introduces collage in his work in 1962, which will gradually lead him towards pop-art. Enriched by all these experiences, he returns again to flat painting, reaching a very personal critical realism, which synthesizes expressionism with dramatically transformed figuration, always valuing the chromatic qualities. In the seventies he exhibited in numerous national and international capitals, such as Paris, Madrid, São Paulo, Amsterdam, Tokyo, Basel, Barcelona and Milan, among others. In the following decade, Cuixart gradually freed his painting from its aggressive aspects to give it a more lyrical tone. In addition, he participates in a group exhibition at the UNESCO Palace in Paris, receives the Cross of St. George of the Generalitat of Catalonia, and the Cross of Isabella the Catholic. In 1988, he holds an anthological exhibition in Japan, in the cities of Kobe and Tokyo. He continues to work with exuberant colors and shapes, and reincorporates a more material figuration to his work. In 1998 the foundation that bears his name was created in Palafrugell, and the following year he was awarded the Gold Medal for Merit in Fine Arts by the Ministry of Culture. He is represented in the Museo Nacional Centro de Arte Reina Sofía, the Tate Gallery in London, the Museo Nacional de Arte de Cataluña, the Museo de Arte Contemporáneo in Madrid, Barcelona and Saint-Etienne (France), the Patio Herreriano in Valladolid, the Museo de Grabado Español Contemporáneo in Marbella, the Museo de Arte de la Universidad de São Paulo, the Museo de Arte Abstracto in Cuenca and the Museo del Ampurdán, among many others. Work reproduced full page in "Modest cuixart, Cirugía Humana", Girona Art Museum, 2006, p. 83.

Estim. 7 000 - 8 000 EUR

JAVIER MARISCAL (Almazora, Castellón, 1950). Palo Alto, Barcelona. May 2006. Oil on canvas. Signed and dated in the right margin; signed, located and dated on the back. Provenance; Private collection Measurements: 180 x 160 cm. The mastery of Javier Mariscal to compose animated scenes, crowds lit by the magic of the night, has no competitors. With a carefree style he arranges the characters in this canvas in an apparently random way, but under the apparent chaos of spotlights, toasts, smiles, bodies and tables there is a compositional rigor that is the result of genuine gifts. Mariscal drinks from comics, but transforms the cartoon into a sociological and plastic incursion. We recognize his signature in each of his characters, those synthetic faces and some of them slightly dog-like, reminiscent of one of the most famous mascots of the last decades. A renowned industrial designer, cartoonist and comic artist, Javier Mariscal has lived and worked in Barcelona since 1970. He studied design at the Elisava School in Barcelona, but soon abandoned his studies to learn directly from his surroundings and follow his own creative impulses. He began his career in the world of underground comics in publications such as "El Rrollo Enmascarado" or "Star", along with Farry, Nazario and Pepichek. After making his first own comics in the mid-seventies, in 1979 he designed the Bar Cel Ona logo, a work for which he began to be known by the general public. The following year the Dúplex opened in Valencia, the first bar signed by Mariscal, together with Fernando Salas, for which he designed one of his most famous pieces, the Dúplex stool, a true icon of design in the eighties both inside and outside our borders. In 1981 his work as a furniture designer led him to participate in the exhibition of the Memphis Group in Milan. In 1987 he exhibited at the Georges Pompidou Center in Paris and participated in the Documenta in Kassel. Two years later his design Cobi is chosen as the mascot for the 1992 Barcelona Olympic Games, controversial at first but now recognized as the most profitable mascot in the history of the modern Games. In 1989 he created Estudio Mariscal and collaborated on various projects with designers and architects such as Arata Isozaki, Alfredo Arribas, Fernando Salas, Fernando Amat and Pepe Cortés. Among his most outstanding works are the visual identities for the Swedish Socialist Party, the Onda Cero radio station, the Barcelona Zoo, the University of Valencia, the Lighthouse design and architecture center in Glasgow, the GranShip cultural center in Japan, and the London post-production company Framestore. In 1999 he received the National Design Prize, awarded by the Spanish Ministry of Industry and the BCD Foundation in recognition of his entire professional career.

Estim. 1 000 - 1 500 EUR

FRANCESC SERRA CASTELLET (Barcelona, 1912 - Tossa, Girona, 1976). "Female nude". Oil on tablex. Presents sketch on the back. Signed in the lower right corner. Measurements: 60 x 83 cm; 74 x 97 cm (frame). Painter and draftsman, Francesc Serra spent his youth in Granollers, Barcelona. Although he passed fleetingly through the School of La Lonja in Barcelona, he is basically a self-taught author. He had his first exhibition in 1932, at the Sala Parés in Barcelona, and participated in the Salones de Primavera between 1934 and 1936. In 1936 and 1937 he was a special guest of the Carnegie Institute of Pittsburgh, United States. He continued to hold individual exhibitions in Barcelona, mainly at the Sala Gaspar. A great admirer of Degas, he was especially influenced by his favorite theme, the feminine. Sporadically he also tackled other themes, such as the urban landscape, of which the series of Paris, presented in 1951, is worth mentioning. Likewise, with his portraits of the lead mine he approached the sensitive realism of Ingres. He won several awards, including the Sant Jordi of Barcelona (1953) and the first medals at the National Exhibitions of Madrid (1957) and Barcelona (1960). He collected several unpublished drawings under the title "Dibujos de Serra" (1973), with a prologue by Santos Torroella. Determined defender of realism in art and of traditional figuration against the avant-garde, he published the essay "La aventura del arte contemporáneo" (1953), with a prologue by Rafael Benet. He is represented in the Museums of Modern Art of Madrid and Barcelona and in the Museums of Fine Arts of l'Empordà and Sabadell.

Estim. 1 400 - 1 600 EUR

JOAN BRULL VINYOLES (Barcelona, 1863 - 1912). "Female portrait. Oil on canvas. Signed in the lower corner. Measurements: 41 x 61 cm; 55 x 73 cm (frame). Joan Brull was formed in the School of Fine Arts of Sant Jordi of Barcelona, where he stood out as an outstanding student. Influenced by the realism of his teacher Simón Gómez Polo, he began his career with costumbrist and historical themes such as "La tonsura del rey Wamba", exhibited at the Sala Parés in Barcelona in 1883. During these years he was also related to the modernist movement and symbolist aesthetics, influences that marked much of his production. He then went to Paris, where he completed his training with Rapahel Cöllin for five years. His style evolved in an increasingly personal direction, leaving behind realism in favor of a "fin de siècle" idealism. Nevertheless, he continued to be interested in history painting, genre scenes and portraits, achieving great mastery in the latter. On his return to Spain, he participated in numerous group exhibitions in Madrid and Barcelona, as well as abroad, in London and Paris. He also took part in the National Fine Arts Exhibitions in Madrid, where he was decorated in 1892, 1895, 1897 and 1899. In those held in Barcelona he was also distinguished in the editions of 1894, 1896, 1898, 1907 and 1911. He obtained third medal in the Paris Exhibition of 1900, and was named Commander of the Order of Alfonso XII in 1904. He also participated as an art critic in the magazine "Joventut". On the fringes of academic rigor, Brull Vinyoles soon abandoned himself to the pictorial idealism to which he devoted all his work. A man of great culture, he actively participated in the gatherings of Els Quatre Gats. His technique of blurred contours, grisaille and pearly tones, as well as his subject matter populated by ethereal female figures, allow us to situate his work within romantic symbolism. After his untimely death, the Sala Parés in Barcelona dedicated a tribute exhibition to him (1913). Brull is represented in the Museo del Prado, the Museo Nacional de Arte de Cataluña, the Museo de La Garrotxa in Girona, and the Museo de Art Nouveau y Art Déco Casa Lis in Salamanca.

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