Null Joan de Palau Buxó (Flaçà, Girona, 1919-Banyoles, Girona, 1991)
Banyoles.
O…

Description

Joan de Palau Buxó (Flaçà, Girona, 1919-Banyoles, Girona, 1991) Banyoles. Oil on canvas. Signed. 81 x 100 cm. Restoration on the back.

1091

Joan de Palau Buxó (Flaçà, Girona, 1919-Banyoles, Girona, 1991) Banyoles. Oil on canvas. Signed. 81 x 100 cm. Restoration on the back.

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Estim. 250 - 375 EUR

Joan Miró, "Maravillas" Signs spontaneously placed on the sheet in various colours, sheet from the series Maravillas, colour lithograph, 1975, signed "Miró" on the stone lower right, attractively matted and behind glass in designer frame, this with slight damage, mat opening approx. 48 x 69 cm. Artist information: actually Joan Miró i Ferrà, important Spanish painter, graphic artist, designer and sculptor (1893 Barcelona - 1983 Palma de Mallorca), initially trained as a businessman and worked as an accountant, at the same time teaching art, temporarily in Mont-roig del Camp, studied from 1912 at the Barcelona Academy, from 1919 in Paris, where he met Picasso, 1920 at the Académie de la Grande Chaumière in Paris, 1926 stage design for "Romeo and Juliet" together with Max Ernst, from 1928 in Holland, first meeting and lifelong friendship with Alexander Calder, 1933 meeting with Wassily Kandinsky, from 1939 in the USA, among other things, he organised several exhibitions at the documenta in Kassel, from 1956 active on Mallorca, received numerous awards, including an honorary doctorate from Harvard University, source: Thieme-Becker, Vollmer, Wikipedia and Internet.

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. 800 - 1 200 EUR

Richard GUINO (Girona 1890-Anthony 1973) Mother and child Terracotta sculpture H: 21 x 11 x 7 cm Signed on the side of the terrace Guino numbered below 4

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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