PANTALEO CRETÌ CRETÌ PANTALEO
San Donato di Lecce (LC) 1948

Caras
2012

Técnica…

Descripción

PANTALEO CRETÌ

CRETÌ PANTALEO San Donato di Lecce (LC) 1948 Caras 2012 Técnica mixta sobre lienzo 195,00x150,00 Publicado en la página 19 (página a todo color) del catálogo "Cuerpos celestiales" de la exposición del mismo nombre de 2012. 2012.

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PANTALEO CRETÌ

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Valorac. 8 000 - 9 000 EUR

JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 2005. Mixed media (oil and assemblage) on canvas. Signed and dated. Measurements: 154,5 x 120 x 5 cm. The use of assemblage linked to experimentation and lyrical abstraction gains ground in Guinovart's paintings in his last period. He returns to his informalist beginnings, but enriches them by investigating the effects of different procedures on unorthodox supports. The strong contrast between blacks, reds, and whites, curled like unleashed waves, suggest storms and other phenomena in which nature reveals itself in all its fervor. Guinovart abstracted from the observation of nature and reflection on the physical properties of painting a unique visual language. Josep Guinovart was trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He soon acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Towards 1957 he began an informalist and abstract tendency, with a strong material presence both by the incorporation of various elements and objects (burnt wood, boxes, waste objects) and by the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

Valorac. 6 000 - 8 000 EUR

JOSEP GUINOVART (Barcelona, 1927 - 2007). Untitled, 1995. Mixed media (oil, matter, plate, chickpeas, charcoal, waxes) on canvas. Signed and dated in the lower right corner. Measurements: 76 x 94 cm; 73 x 83 cm (frame). In the painting of Guinovart always had an indelible impression aspects of his biography linked to the hardships of the civil war. The grains of wheat and chickpeas that he incorporates in his works, not only in his informalist period, but also in later paintings such as the one we are dealing with, respond to the persistence in his memory of what it meant to emigrate with his family to a small town in Lleida to take refuge from the war. The products and utensils of the land will be treated as symbols of resilience and hope in unfavorable contexts. At the same time, experimenting with these extra-artistic elements will give him a prominent place in the heart of material informalism. Josep Guinovart was trained at the School of Master Painters, at the School of Arts and Crafts and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He immediately acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Towards 1957 he began an informalist and abstract tendency, with a strong material presence both by the incorporation of various elements and objects (burnt wood, boxes, waste objects) and by the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.

Valorac. 3 000 - 3 500 EUR

JUAN MANUEL LÓPEZ-REINA COSO (Cuenca, 1953). "Sunset". Mixed media on wood. Signed and titled on the back. Signed in the lower right corner. Signed and titled on the back. Measurements: 120 x 140 cm. Juan Manuel López Reina stands out for his multidisciplinary training, in which he has developed the study of different artistic techniques such as engraving or watercolor. Graduated in graphic arts and specialized in photocomposition, book and magazine design, he has completed his artistic training with different courses, among which stand out the engraving workshop at the School of Fine Arts in Madrid and the Prado workshops with Francisco Molina, Jorge Pedraza or Salvador Antúnez. His extensive knowledge of various techniques has led to the creation of a very personal style where he combines different techniques and a style that oscillates between abstraction and figuration. In the words of the artist himself: "A musician composes a melody by combining notes, according to certain relationships; a poet composes a poem by putting thoughts and words in good order; and a painter creates a painting by adjusting thoughts, shapes and colors in the best order" His work has been widely represented in important national art centers such as the Casa de Vacas in Madrid, the Victoria Hidalgo Gallery or the Cantabria House, among others. He has also been awarded several prizes among which are the first prize of the prado workshop in 2013, the first prize XXVIII minimalist art contest San Antón 2012 awarded by the free academy of arts and letters of San Antón and the first prize mira Madrid awarded by the Association of painters and sculptors in 2012.

Valorac. 60 000 - 80 000 EUR

Philippe HIQUILY ((1925 - 2013)) Cheng San - 2006 Hierro martillado, soldado y patinado Firmada con las iniciales y numerada en la base "PH, EA 2/4". Edición de 8 + 4 E.A. Exposiciones : París, Galerie Loft en el marco del evento Art Saint-Germain-des-Prés, "Philippe Hiquily et Wang Keping: sculptures et sensualité", mayo de 2009 (un ejemplar similar) Bibliografía: "Philippe Hiquily - Catalogue Raisonné 1948-2011, Volume 1", Loft Editions, París, 2012, reproducido en color como n°632, p. 410 (un ejemplar similar) La autenticidad de esta obra ha sido confirmada por el Comité Hiquily. El Comité Hiquily podrá expedir un certificado a cargo del comprador. Hierro martillado, soldado y patinado; firmado con las iniciales y numerado en la base; edición de 8 + 4 A.P. 220 x Philippe HIQUILY ((1925 - 2013)) La autenticidad de esta obra ha sido confirmada por el Comité Hiquily. El Comité Hiquily expedirá un certificado a cargo del comprador. Hierro martillado, soldado y patinado; firmado con las iniciales y numerado en la base; edición de 8 + 4 A.P. 220 x

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