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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.

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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.

Valoración 8 000 - 9 000 EUR
Precio de salida 4 000 EUR

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JOSEP GUINOVART (Barcelona, 1927 - 2007). "Pelaires", 1989. Técnica mixta sobre lienzo. Firmado y fechado en la esquina inferior izquierda. Medidas: 145 x 114 cm. En este cuadro de los años ochenta, Guinovart rompe visualmente con la bidimensionalidad de la superficie pictórica, haciendo colisionar formas, colores y texturas. Sin traspasar los límites de la abstracción, las sugerencias orgánicas ganan relieve entre los rojos y el claroscuro de negros y blancos incrustados en una materia generosa. Guinovart convoca el caos material y al mismo tiempo lo subyuga mediante una composición intuitivamente orquestada. El autor regala al espectador una imagen impregnada de lirismo. El impulso matérico y gestual queda subsumido a una gran coherencia plástica. Josep Guinovart se formó en la Escuela de Maestros Pintores, en la Escuela de Artes y Oficios y en las aulas del FAD. Expuso individualmente por primera vez en las galerías Syra de Barcelona en 1948. Pronto adquirió un sólido prestigio, colaboró con Dau al Set y participó en los salones Octubre, Jazz y Once. En los años cincuenta, gracias a una beca, vivió en París, donde conoció profundamente la obra de Cézanne y Matisse, que, junto con Miró y Gaudí, serían sus influencias más importantes. En 1955, junto con Aleu, Cuixart, Muxart, Mercadé, Tàpies y Tharrats, formó el grupo Taüll, que reunía a los artistas de vanguardia de la época. Hacia 1957 inició una tendencia informalista y abstracta, con una fuerte presencia matérica tanto por la incorporación de elementos y objetos diversos (maderas quemadas, cajas, objetos de desecho) como por la aplicación de técnicas como el collage y el assemblage. A partir de los años sesenta se aleja de la poética informalista y comienza a crear obras llenas de signos y gestos, que contienen una fuerte carga expresiva en las líneas y los colores. Durante los años setenta utilizó sistemáticamente materiales como arena, tierra, barro, paja o fibrocemento, y en la década siguiente se centró en la experimentación con la proyección tridimensional de sus obras, que se concretó en la creación de ambientes o entornos espaciales como el titulado Contorn-extorn (1978). Guinovart tiene una producción artística muy variada: pinturas murales, decorados y escenografías teatrales, como la realizada para Bodas de Sangre de Federico García Lorca, ilustraciones de libros, diseño de carteles, tapices y esculturas. Participó en las Bienales de São Paulo (1952 y 1957), Alejandría (1955) y Venecia (1958, 1962 y 1982), y entre sus premios destacan el Ciudad de Barcelona en 1981, el Nacional de Artes Plásticas en 1990 y el de Artes Plásticas de la Generalitat en 1990. En 1994 se inauguró en Agramunt, Lérida, el Espacio Guinovart, fundación privada que cuenta con una exposición permanente del artista. Está representado en los Museos de Arte Contemporáneo de Barcelona, Madrid y Ciudad de México, el Museo de Escultura al Aire Libre de Santa Cruz de Tenerife, el Museo Nacional Centro de Arte Reina Sofía, el Museo de Bellas Artes de Bilbao, el Museo San Telmo de San Sebastián, el Museo Eusebio Sempere de Alicante, el Museo de Navarra de Tafalla, la Casa de las Américas de La Habana, el Museo Bocchum de Alemania, el Museo de Bellas Artes de Long Island, Nueva York, y el Museo Patio Herreriano de Valladolid.