JOSE PAREDES JARDIEL Madrid (1928) / Villajoyosa, Alicante (2000) "Lance bullfig…

Description

JOSE PAREDES JARDIEL Madrid (1928) / Villajoyosa, Alicante (2000) "Lance bullfighting", 1962 Mixed technique on tablex Signed and dated in the lower left corner Measurements: 50 x 65 cm

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JOSE PAREDES JARDIEL Madrid (1928) / Villajoyosa, Alicante (2000) "Lance bullfighting", 1962 Mixed technique on tablex Signed and dated in the lower left corner Measurements: 50 x 65 cm

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Estim. 1 000 - 1 200 EUR

BENJAMIN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980). Untitled, 1948. Watercolor and ink on paper. Signed in the lower right corner. Provenance: Ignacio Lassaletta Gallery. Certificate attached Measurements: 34 x 25 cm,; 65 x 56 cm. Founder of the School of Vallecas together with Alberto Sánchez, sculptor, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape typical of the Generation of 98. With only fifteen years Palencia leaves his native town and settles in Madrid to develop his formation through his frequent visits to the Prado Museum, since he always rejected the official teachings of the Royal Academy of Fine Arts of San Fernando. In 1925 he participates in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travels for the first time to Paris. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he would later apply to his work, incorporating new materials such as sand or ashes. It will be from this Parisian stay when Palencia's work acquires a surrealist tone, evidenced in an increasingly greater expressive freedom that will reach its fullness in his period of maturity. On his return to Madrid he founded the Vallecas School (1927), and made his individual debut at the Museum of Modern Art (1928). Palencia will gradually abandon still lifes to take up again the Castilian landscape, capturing it through a magnificent synthesis between tradition and avant-garde. This personal aesthetic of the landscape will reach its culmination in the School of Vallecas and, after a brilliant surrealist incursion in the early thirties, at the outbreak of the Civil War Palencia remains in Madrid, suffering like his peers of his generation a period of deep crisis. After the war, between 1939 and 1940 his painting took a radical turn; he abandoned the cubist and abstract influences and even the surrealist aspects, in search of an art of strong chromatic impact, linked to Fauvism. Focused on his work as a landscape painter, in 1942 Palencia takes up again the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work will gather images of the Castilian countryside and its peasants and animals; his painting becomes a testimony of the rough, the coarse and the rural, of the subtle expressiveness of the Castilian sobriety. Already fully consolidated, in 1943 he obtained the first medal at the National Exhibition of Fine Arts and in 1944 he was selected to participate in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he is awarded the medal of honor at the National Exhibition, although he renounces it to facilitate its concession to José Gutiérrez Solana, who died a few days before the jury's decision. From this decade on, his exhibitions in art centers and galleries such as the Círculo de Bellas Artes in Madrid or the Estilo gallery, and in 1946 he was once again selected for the Salón de los Once. He also began to participate in international exhibitions, such as those of Spanish Contemporary Art held in 1947 in Buenos Aires, Rio de Janeiro and Sao Paulo. He was also awarded the Grand Prize at the Hispano-American Biennial in Madrid (1951) and exhibited at the Museum of Modern Art in Paris (1951), the Venice Biennial (1956), the Princess of Paravinci's Palace in Rome (1965), etc. In 1973 he was appointed member of the Royal Academy of Fine Arts of San Fernando, and in 1978 he joined the Academy of San Jorge in Barcelona. That same year he was awarded the Gold Medal for Merit in Fine Arts. Benjamín Palencia is currently represented in the Reina Sofía National Museum, in the Patio Herreriano in Valladolid and in the Fine Arts Museums of Valencia and Albacete, among many others.

Estim. 3 000 - 3 500 EUR

JOSE MARÍA BARREIRO (Forcarei, Pontevedra, 1940). "Galician musicians". Oil on táblex. Signed in the lower margin. Measurements: 68 x 55 cm; 86,5 x 74 cm (frame). José María Barreiro turns the glove to the folkloric subject in this oil painting with a couple of Galician musicians (a piper, a drummer) resolved with a post-fauve palette. Barreiro held his first solo exhibition in 1961, and two years later he undertook a study trip through Europe that took him to Paris. There he studied the French school and exhibited his work, which he also did in Belgium and Germany. Between 1965 and 1966 he painted a series of murals in commercial houses in Vigo, where he exhibited his work in 1967 at the Velázquez Gallery. In the following years he held exhibitions in different Spanish cities, and in 1969 he made a trip to Argentina, where he held a new exhibition. Settled in Buenos Aires, he combines painting with various decoration projects for Harrods. In 1971 he made a trip to Chile, Brazil and Uruguay, and on his return in 1972 he held an important exhibition in the Perla Marino Gallery in the Argentine capital. He returned to Spain and exhibited in Pontevedra, where he took part in the Biennial that same year. In the following years he held exhibitions in Galicia, Murcia, Valladolid, Madrid, Barcelona and Tenerife, and in 1986 a retrospective exhibition was held in Terra de Montes. Three years later he made his debut at the Durán art gallery in Madrid, where he exhibited biannually with great success. In 1991 he shows his work in the United States, at the Arte Chicago fair, and before the end of the year he also shows his work in Lisbon. During the nineties he will also show his work in Miami, without leaving aside his usual exhibitions in Spain.

Estim. 2 800 - 3 000 EUR

MANUEL TORRES (Marín, Pontevedra, 1901 - 1995). "Village house". Oil on canvas. Signed in the lower margin. Measurements: 52 x 65 cm; 82 x 95 cm (frame). One of the great Galician artists of the XX century, Manuel Torres was granted a scholarship by the Provincial Council of Pontevedra to study in Madrid in 1927. In 1928 he participated in the Galician Art Exhibition in Madrid and in 1931 he received another scholarship to travel to Paris, thus broadening his artistic vision. In 1990 he was awarded the Castelao Medal of the Xunta de Galicia. Although he studied teaching, he combined his career with painting, and from his youth he collaborated regularly with various Galician magazines and newspapers. In addition, from the twenties onwards, his works would appear in the magazine "Céltiga", published in Buenos Aires. Influenced mainly by his friend Carlos Maside, Torres worked not only in easel painting and illustration, but also in sculpture. During the Civil War, Torres Martinez returned to his native Marin, where he shut himself up and began an insatiable period of creative work, acquiring great success among the Galician population. Such was his success that the Biennial of Pontevedra dedicated an anthological exhibition to him on two occasions. He is currently represented in the Municipal Museum of Marín, which bears his name, as well as in all Galician art galleries, official institutions and private collections.

Estim. 1 500 - 1 800 EUR

BENJAMÍN PALENCIA (Barrax, Albacete, 1894 - Madrid, 1980). "Clown. 1948. Ink on paper. Signed and dated in the lower right corner. Work verified by Ramón Palencia Measurements: 44 x 28 cm. Founder of the School of Vallecas together with Alberto Sánchez, sculptor, Benjamín Palencia was one of the most important heirs of the poetics of the Castilian landscape typical of the Generation of 98. When he was only fifteen years old, Palencia left his native town and settled in Madrid to develop his training through his frequent visits to the Prado Museum, as he always rejected the official teachings of the Royal Academy of Fine Arts of San Fernando. In 1925 he took part in the Exhibition of Iberian Artists held at the Retiro Palace in Madrid, and in 1926 he travelled to Paris for the first time. There he met Picasso, Gargallo and Miró and came into contact with the collage technique, which he later applied to his work, incorporating new materials such as sand and ashes. It was during this Parisian stay that Palencia's work took on a surrealist tone, evidenced by an increasingly greater expressive freedom that reached its peak in his mature period. On his return to Madrid he founded the Vallecas School (1927) and made his individual debut at the Museum of Modern Art (1928). Palencia gradually abandoned still lifes in favour of Castilian landscapes. This personal landscape aesthetic reached its culmination in the Vallecas School and, after a brilliant surrealist incursion in the early 1930s, when the Civil War broke out Palencia remained in Madrid and, like his fellow artists of his generation, underwent a period of profound crisis. When the war ended, between 1939 and 1940 his painting took a radical turn; he abandoned cubist influences in search of an art with a strong chromatic impact. Focusing on his work as a landscape painter, in 1942 Palencia returned to the experience of the Vallecas School together with the young painters Álvar Delgado, Carlos Pascual de Lara, Gregorio del Olmo, Enrique Núñez Casteló and Francisco San José. His work would include images of the Castilian countryside and its peasants and animals; once fully consolidated, in 1943 he won the first medal at the National Exhibition of Fine Arts and in 1944 he was selected to take part in the Salón de los Once de Eugenio D'Ors in Madrid. The following year he was awarded the medal of honour at the National Exhibition, although he gave it up in order to facilitate its award to José Gutiérrez Solana, who died a few days before the jury's decision. From this decade onwards he exhibited his work in art centres and galleries such as the Círculo de Bellas Artes in Madrid and the Estilo gallery, and in 1946 he was once again selected for the Salón de los Once. He also began to take part in international exhibitions, such as those of Spanish Contemporary Art held in Buenos Aires in 1947.

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