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MANUEL COLMEIRO GUIMARÁS (Pontevedra, 1901 - Salvaterra do Minho, Pontevedra, 1999). "Spanish woman". 1949. Ink on paper. Signed and dated. Catalogued in "Drawings by Colmeiro". "Cuadernos de arte. Contemporary Masters of Drawing and Painting Collection", nº 8. By Rodríguez Sahagún Measurements: 55 x 43 cm; 80 x 69 cm (frame). In this drawing of costumbrista theme, Colmeiro extracts with firm stroke the essential of the Andalusian attire, like the comb and the mantilla. Large melancholy eyes illuminate the sharp oval face. A Galician painter who emigrated to Buenos Aires, Manuel Colmeiro combined his artistic studies there at night with work in a shoe factory. For a year he studied at the Academy of Fine Arts, but he left to form a working group with other painters and sculptors. After this stage, where he developed an expressionist work, he returned to Galicia in 1926. Two years later he held his first exhibition in the salons of Faro de Vigo, and soon obtained a scholarship from the Diputación de Pontevedra to travel to Madrid and further his training at the Academia de Bellas Artes de San Fernando. In the capital, Manuel Colmeiro showed, however, a greater interest in studying first-hand the great masters at the Prado Museum. He continued to make himself known, and in 1932 he took part in an exhibition of new Galician painters at Federico García Lorca's Barraca. However, when the civil war broke out, he went back to Buenos Aires, where he remained until 1948. During this second period in Argentina he will be in contact with Luis Seoane, Rafael Dieste and Rafael Alberti, among others. In 1949 he moved to Paris, where he remained for decades, until 1989, when he returned definitively to Galicia. In fact, Colmeiro is considered part of the Spanish School of Paris. In the 1960s he achieved massive international recognition, with solo exhibitions in London, Paris and Madrid. During these years his work is already focused on popular Galician themes, its culture and its people. He was part of the group known as "Os Novos" or "Os Renovadores", together with Seoane, Laxeiro, Arturo Souto and Maside. All of them, born at the beginning of the 20th century, were considered continuators of the "Nós Generation", and had in common a work with Galician themes combined with avant-garde aesthetics, mainly expressionism, cubism and abstraction. Among them, Colmeiro stood out for the intimate air of his images, accompanied by a lyrical concept of atmospheres, and in fact he was considered the most attached to the tradition of the group. Throughout his career, this artist was awarded several prizes, including the Prêmio das Artes de la Junta de Galicia in 1987 and the Prêmio Celanova, Casa dos Poetas in 1996. He is currently represented in the Afundación Collection, the María José Jove Foundation, the Abanca Collection and the Museum of Pontevedra, among other collections.

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MANUEL COLMEIRO GUIMARÁS (Pontevedra, 1901 - Salvaterra do Minho, Pontevedra, 1999). "Spanish woman". 1949. Ink on paper. Signed and dated. Catalogued in "Drawings by Colmeiro". "Cuadernos de arte. Contemporary Masters of Drawing and Painting Collection", nº 8. By Rodríguez Sahagún Measurements: 55 x 43 cm; 80 x 69 cm (frame). In this drawing of costumbrista theme, Colmeiro extracts with firm stroke the essential of the Andalusian attire, like the comb and the mantilla. Large melancholy eyes illuminate the sharp oval face. A Galician painter who emigrated to Buenos Aires, Manuel Colmeiro combined his artistic studies there at night with work in a shoe factory. For a year he studied at the Academy of Fine Arts, but he left to form a working group with other painters and sculptors. After this stage, where he developed an expressionist work, he returned to Galicia in 1926. Two years later he held his first exhibition in the salons of Faro de Vigo, and soon obtained a scholarship from the Diputación de Pontevedra to travel to Madrid and further his training at the Academia de Bellas Artes de San Fernando. In the capital, Manuel Colmeiro showed, however, a greater interest in studying first-hand the great masters at the Prado Museum. He continued to make himself known, and in 1932 he took part in an exhibition of new Galician painters at Federico García Lorca's Barraca. However, when the civil war broke out, he went back to Buenos Aires, where he remained until 1948. During this second period in Argentina he will be in contact with Luis Seoane, Rafael Dieste and Rafael Alberti, among others. In 1949 he moved to Paris, where he remained for decades, until 1989, when he returned definitively to Galicia. In fact, Colmeiro is considered part of the Spanish School of Paris. In the 1960s he achieved massive international recognition, with solo exhibitions in London, Paris and Madrid. During these years his work is already focused on popular Galician themes, its culture and its people. He was part of the group known as "Os Novos" or "Os Renovadores", together with Seoane, Laxeiro, Arturo Souto and Maside. All of them, born at the beginning of the 20th century, were considered continuators of the "Nós Generation", and had in common a work with Galician themes combined with avant-garde aesthetics, mainly expressionism, cubism and abstraction. Among them, Colmeiro stood out for the intimate air of his images, accompanied by a lyrical concept of atmospheres, and in fact he was considered the most attached to the tradition of the group. Throughout his career, this artist was awarded several prizes, including the Prêmio das Artes de la Junta de Galicia in 1987 and the Prêmio Celanova, Casa dos Poetas in 1996. He is currently represented in the Afundación Collection, the María José Jove Foundation, the Abanca Collection and the Museum of Pontevedra, among other collections.

Estimate 3 500 - 4 000 EUR
Starting price 2 000 EUR

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"LAXEIRO"; JOSÉ OTERO ABELEDO (Lalín, Pontevedra, 1908 - Vigo, 1996). "Capricho", 1965. Oil on canvas. Attached certificate issued in 2022 by the Laxeiro Foundation. Signed in the lower left corner. Signed, dated and titled on the back. Measurements: 50 x 40 cm. The 1960s was a period of experimentation in the career of the Galician artist, who abandoned figuration in search of a language where volume and fragmentation become protagonists. The pieces from this period, such as the present painting, reveal an intricate play of curves and counter-curves that are the protagonists in his synthetism, which seeks to enhance a play of forms. Laxeiro began his training as a child in Botos (Pontevedra), where he had Teresa López as his first teacher. Shortly after, in 1921, he emigrated to Cuba with his family. There he worked in crafts through which he approached the world of art, from engraving to glassmaking. He attended drawing classes and worked as an assistant to the Catalan Manuel Roig, choreographer of the Martí Theater. In 1925 he visited the exhibitions held in Cuba of Zuloaga and Jesús Corredoyra, and worked designing artistic stained glass. However, due to a serious illness he had to return to Spain, settling in Lalín. At this time he left professional painting aside, and established himself as an itinerant barber in 1926, often portraying his clients and various popular types. Two years later he began to make himself known, publishing vignettes in the "Faro de Vigo". The following year he also published his illustrations in "El Pueblo Gallego". In 1930 he receives painting classes from the Argentinean painter Enrique Larrañaga, in Vigo, and the following year he is granted a scholarship by the City Council of Lalín to continue his artistic studies in Madrid. He enters then as a free student in the Academy of Fine Arts of San Fernando, and at the same time he frequents the gathering of the Granja del Henar. He returned to Galicia in 1933 and began to hold exhibitions, making his individual debut in 1934 at the Faculty of Philosophy and Letters in Santiago de Compostela. After the war he settled in Pontevedra, where in 1940 he began his teaching career at the Valle-Inclán Institute. In the following years he obtained pensions from the Provincial Council, and resumed his exhibition career in Galicia, Madrid and Bilbao. In 1951 he was invited to hold an exhibition in Buenos Aires, the city where he finally decided to settle. In the seventies he returned definitively to Spain, living between Pontevedra and Madrid, exhibiting all over Spain, already as a fully recognized author. His awards include the Medal of the Biennial of Pontevedra, the Castelao Medal of the Junta de Galicia and the Gold Medal of the City Council of Vigo. He has his own museum in that city, as well as a monographic room in the Castrelos Museum and a wide representation in all Galician museums, as well as in numerous private collections in Spain and America. Attached is a certificate issued in 2022 by the Laxeiro Foundation.

ISAAC DÍAZ PARDO (Santiago de Compostela, 1920 - Coruña, 2012). "Nude characters", 1950. Oil on canvas. Signed and dated in the lower left corner. Measurements: 48 x 80 cm; 67 x 100 cm (frame). The specialists define three stages within the painting of Isaac Diaz Pardo: the academic, another influenced by the renovators and the third called American. The one we are bidding here would correspond to the second stage, characterized by the influence of the group of the Galician Renovators, especially Maside and Colmeiro, as well as Renoir and Cezanne. Intellectual, painter, ceramist, designer, editor..., he was a rich and plural personality. In 2009, he received the Gold Medal for Merit in the Fine Arts of Spain. Son of the painter and set designer Camilo Díaz Baliño, in his house took place various meetings related to the Irmandades da Fala, of which Díaz Baliño was an active member and in which personalities such as Castelao, Vicente Risco, Otero Pedrayo, Ramón Cabanillas, Antón Villar Ponte, Eduardo Blanco Amor or Asorey participated. His father was shot by the rebels shortly after the beginning of the Spanish Civil War, which made Isaac had to hide at first at his uncle Indalecio's house, in La Coruña, and then to work as a sign maker in the same city. After the war, he obtained a scholarship from the Provincial Council of La Coruña, thanks to which he studied at the Real Academia de Bellas Artes de San Fernando, in Madrid, between 1939 and 1942. He then became a professor at the Real Academia Catalana de Bellas Artes de San Jorge in Barcelona and began to exhibit in Spain (La Coruña, Madrid and Vigo) and abroad (Europe and America). He later abandoned the plastic arts, turning to ceramics and founding with other partners the Cerámicas do Castro factory in Castro de Samoedo (Sada), testing with raw materials used in the primitive ceramics of Sargadelos (in Cervo, created in the 19th century by Antonio Raimundo Ibáñez Llano y Valdés), and obtaining high quality ceramics. In 1963, together with other prominent Galician artists, such as Luis Seoane, he set up the Laboratorio de Formas in Argentina, a precursor of other industrial and cultural activities such as the restoration of Sargadelos' ceramic production, in collaboration with Cerámicas do Castro (1963), the Carlos Maside Museum (1970), the Ediciós do Castro publishing house (1963), the restored Seminario de Estudos Galegos (1970), the Instituto Galego de Información, etc. It was the direction and administration of the Sargadelos Group, his best known facet and the one that would mark his last years. As a writer of essays and criticism, he wrote Xente do meu Rueiro, O ángulo de pedra, Galicia Hoy (together with Luis Seoane), Paco Pixiñas (with Celso Emilio Ferreiro), El Marqués de Sargadelos, Castelao, etc, as well as a large number of articles in newspapers, such as La Voz de Galicia.