Resin bust of Beethoven simulating marble, 20th century Measurements: 30 cm

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Resin bust of Beethoven simulating marble, 20th century

Measurements: 30 cm

340

Resin bust of Beethoven simulating marble, 20th century

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Valorac. 800 - 900 EUR

ANTONI TÀPIES PUIG (Barcelona, 1923 - 2012). "L'oeil", 1984. Etching in two plates on Arches paper, copy 4/50. Signed and numbered by hand. Tàpies Galfetti V, p. 183, fig. 952. Measurements: 12 x 21 cm (print 1); 30 x 40 cm (print 2); 50 x 65 cm (paper). Antoni Tàpies begins in art during his long convalescence from a lung disease. He progressively devoted himself more intensely to drawing and painting, and finally gave up his law studies to devote himself entirely to art. Co-founder of "Dau al Set" in 1948, he began to exhibit in the Salones de Octubre in Barcelona, as well as in the Salón de los Once held in Madrid in 1949. After his first individual exhibition in the Layetanas Galleries, he travels to Paris in 1950, with a scholarship from the French Institute. In these years he began his participation in the Venice Biennial, exhibited again at the Layetanas and, after a show in Chicago, in 1953 he had a solo exhibition at Martha Jackson's New York gallery. From then on, his exhibitions, both group and solo, were held all over the world, in leading galleries and museums such as the Guggenheim in New York and the Museum of Modern Art in Paris. Since the seventies, anthologies have been dedicated to him in Tokyo (1976), New York (1977 and 2005), Rome (1980), Amsterdam (1980), Madrid (1980), Venice (1982), Milan (1985), Vienna (1986) and Brussels (1986). Self-taught, Tàpies has created his own style within the avant-garde art of the 20th century, combining tradition and innovation in an abstract style but full of symbolism, giving great relevance to the material substrate of the work. It is worth mentioning the marked spiritual sense given by the artist to his work, where the material support transcends its state to signify a profound analysis of the human condition. Tàpies' work has been highly valued internationally, being exhibited in the most prestigious museums in the world. Throughout his career he has received numerous awards and distinctions, including the Praemium Imperiale of Japan, the National Culture Award, the Grand Prize for Painting in France, the Wolf Foundation of the Arts (1981), the Gold Medal of the Generalitat de Catalunya (1983), the Prince of Asturias Award for the Arts (1990), the Picasso Medal of Unesco (1993) and the Velázquez Award for Plastic Arts (2003). A great defender of Catalan culture, of which he is deeply imbued, Tàpies is a great admirer of the mystical writer Ramón Llull, as well as the Catalan Romanesque and Gaudí's architecture. At the same time, he appreciates Eastern art and philosophy, which, like his own work, blur the boundary between matter and spirit, between man and nature. Influenced by Buddhism, he shows in his paintings how pain, both physical and spiritual, is inherent to life. Antoni Tàpies is represented in major museums around the world, such as the foundation that bears his name in Barcelona, the Reina Sofía in Madrid, the Guggenheim in Berlin, Bilbao and New York, the Fukoka Art Museum in Japan, the MoMA in New York and the Tate Gallery in London.

Valorac. 2 000 - 3 000 EUR

MANUEL BARBADILLO (Cazalla de la Sierra, Seville, 1929 - Malaga, 2003). Untitled, 1979- 1984. Ink on paper. Framed in museum glass. Signed in the lower right corner. Measurements: 21 x 30 cm; 29 x 38 cm (frame). On the graph paper there is a study, reflections of the artist, which shows us the previous and conceptual work. In fact, in the collection of the Museo Nacional Centro de Arte Reina Sofía, there are several pieces of larger dimensions that reflect the aesthetic concept that the artist embodies in this work. Examples of this are the pieces Coraina, Dione and Merata. Manuel Barbadillo began his training in the studio of José Arpa (1941), and later moved to the workshop of sculptor Emilio García Ortiz, where he remained between 1944 and 1947. He finally completed his training at the School of Arts and Crafts between 1951 and 1953. At the same time he studied law, and when he finished his studies in 1954 he exhibited for the first time at the Ateneo de Sevilla. He then traveled to Morocco, where he remained until 1957, and there he definitively left figuration behind to focus on abstract experimentation. When in 1959 he moved to New York, where he remained until 1962, his work was framed in the informalist abstraction, at first showing influences of abstract expressionism. However, his language will soon derive in the line of the reduction of color, until deriving in sober, monochrome works, dense in pictorial matter and of an accentuated experimental character. Towards 1960 his work enters a new stage, marked by structuring and the search for an increasingly rational and balanced language. Finally, around 1963 his painting reached maturity through compositional schematization, the elimination of matter, symmetry and the use of repetitive forms. This simplification will finally lead him to the binary language, and from 1964 he replaces the concept of form with that of module, thus beginning the longest and most fruitful period of his production. In 1968 he was invited to participate in a course at the Centro de Cálculo de la Complutense, and that same year he took part in the Seminar on Automatic Generation of Plastic Forms at the same center, something that would be key in his career. Since then Barbadillo will establish a close relationship with the computer, understood as a working tool. Throughout his career, Barbadillo has been a member of the Computer Arts Society and the Artistic Council of the Gesellschaft für Computer Grafik und Computer Kunst in Munich, and has shown his work in exhibitions held in Spain, Morocco, Argentina, Venezuela, the United States and Germany, as well as participating in group exhibitions around the world. He is currently represented in the MNCA Reina Sofía, in the Centro Andaluz de Arte Contemporáneo and in numerous public and private collections in Europe and America. Framed in museum glass.

Valorac. 2 200 - 2 400 EUR

JOSE MARIA YTURRALDE, (Cuenca, 1942). "Postlude", 1998. Acrylic on paper. Signed and dated at the bottom. Measurements: 30 x 30 cm; 35 x 35 cm (frame). The series "Horizons", begun by Yturralde during 2009, is a sample of the exploration and search of color, light and sensory. This horizontal horizon marks the starting point of the sensory experience of the human being, a concept related to the culture of the Tuaregs, and even the Japanese "haiku" (poems). In this way, the artist highlights the infinity of the horizon, associated with the infinite vision of the desert. During the consecutive years, Jose María Yturralde continues to shape the concept of limit and beginning, also associated with scientific fields such as space-time distortions. In 2014, he continues to add aspects related to the treatment and design of these limits that take the form of vertical and horizontal black lines in the middle of balanced and colorful structures. D. in Fine Arts from the Polytechnic University of Valencia, Yturralde is a full member of the Royal Academy of Fine Arts of San Carlos. He made his solo debut in 1969 with an exhibition held at the Centro de Cálculo de la Universidad de Madrid. He soon began to receive outstanding awards, including a scholarship to study at the Massachusetts Institute of Technology. Yturralde has exhibited and lectured all over the world, and has participated in major international group shows since the beginning of his career: São Paulo Biennial (1967), Museum of Fun in Tokyo (1979), Spanish Institute in New York (1996), etc. Particularly noteworthy are his solo exhibitions held at the M.I.T. and the Reina Sofia Museum in Madrid, as well as in various Parisian, Moscow, Spanish, American and Japanese galleries. Yturralde is represented in national and international museums such as the Museum of Abstract Art in Cuenca, the Brooklyn Museum, the Harvard Museum, the Asahi Shimbun in Tokyo, the Novgorod State Museum in Russia, the Patio Herreriano in Valladolid and the Museo Nacional Centro de Arte Reina Sofía.

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