1 / 7

Descripción

XAVIER MEDINA CAMPENY (Barcelona, 1943). Untitled. Sculpture in bronze, copy 4/5. Signed and justified on the base. With seal of Fundición Artística Vila. Measurements: 51 x 65 x 37 cm. From the beginning of the seventies date a series of pieces of Medina Campeny whose theme is the human head, focused from multiple points of view, submitting it to modifications. Xavier Medina Campeny, grandson of the sculptor Josep Campeny and great-grandson of Damià Campeny, is a sculptor of self-taught training, who evolved his artistic mood towards a very personal style. He began studying architecture in Barcelona, but abandoned his studies to start in the world of sculpture. It was during this period that he dedicated himself to this art, with a self-taught training. His long artistic career as a sculptor has led him to work with various techniques and materials. As for his first exhibition, he made it in 1964. After ten years he moved to New York, where he created most of his artistic production. After a few years he returned to Spain to stay. His style is closely related to the avant-garde, more specifically with Dadaism. His mastery of drawing has also helped him to relate organic elements with geometric forms. During the years 1975 to 1989, he developed a plastic language of the human body, being a mixture of the anatomical with geometry, which he himself called "fragmentations". At the time of making these bodies, Medina crumbles, divides and geometrizes the parts of the human body to later rejoin them, in order to highlight some parts that he leaves empty. The work Conversación (1979) reflects and tells us about the contrast between the absent and the present. On the other hand, the work The mirror in Atlantic Ocean, balances the form with the background and works the body without fragmenting it. Medina's work can be related to surrealist proposals. For example, in the group Mimetismo animal (Animal mimicry), human attitudes with ironic expressions can be seen in the animals. Since 2003 there has been a change in the artist's style with respect to the human body, in which he simplifies the forms and transforms them into elongated cylinders that for him are "pieces" with a symbolic meaning. Medina and Campeny's works have been exhibited both in Europe and America, where he has several works in museums and important institutions, such as: Museo Nacional de Arte Reina Sofia in Madrid, MACBA in Barcelona, Pagani Foundation in Legnano, Italy, Everson Museum in Syracuse (USA), Jimmy Carter Library & Museum in Atlanta, Georgia (USA), Bears Foundation in New York (USA), North Carolina Museum of Art (USA), among others.

17 
Ir al lote
<
>

XAVIER MEDINA CAMPENY (Barcelona, 1943). Untitled. Sculpture in bronze, copy 4/5. Signed and justified on the base. With seal of Fundición Artística Vila. Measurements: 51 x 65 x 37 cm. From the beginning of the seventies date a series of pieces of Medina Campeny whose theme is the human head, focused from multiple points of view, submitting it to modifications. Xavier Medina Campeny, grandson of the sculptor Josep Campeny and great-grandson of Damià Campeny, is a sculptor of self-taught training, who evolved his artistic mood towards a very personal style. He began studying architecture in Barcelona, but abandoned his studies to start in the world of sculpture. It was during this period that he dedicated himself to this art, with a self-taught training. His long artistic career as a sculptor has led him to work with various techniques and materials. As for his first exhibition, he made it in 1964. After ten years he moved to New York, where he created most of his artistic production. After a few years he returned to Spain to stay. His style is closely related to the avant-garde, more specifically with Dadaism. His mastery of drawing has also helped him to relate organic elements with geometric forms. During the years 1975 to 1989, he developed a plastic language of the human body, being a mixture of the anatomical with geometry, which he himself called "fragmentations". At the time of making these bodies, Medina crumbles, divides and geometrizes the parts of the human body to later rejoin them, in order to highlight some parts that he leaves empty. The work Conversación (1979) reflects and tells us about the contrast between the absent and the present. On the other hand, the work The mirror in Atlantic Ocean, balances the form with the background and works the body without fragmenting it. Medina's work can be related to surrealist proposals. For example, in the group Mimetismo animal (Animal mimicry), human attitudes with ironic expressions can be seen in the animals. Since 2003 there has been a change in the artist's style with respect to the human body, in which he simplifies the forms and transforms them into elongated cylinders that for him are "pieces" with a symbolic meaning. Medina and Campeny's works have been exhibited both in Europe and America, where he has several works in museums and important institutions, such as: Museo Nacional de Arte Reina Sofia in Madrid, MACBA in Barcelona, Pagani Foundation in Legnano, Italy, Everson Museum in Syracuse (USA), Jimmy Carter Library & Museum in Atlanta, Georgia (USA), Bears Foundation in New York (USA), North Carolina Museum of Art (USA), among others.

Valoración 1 200 - 1 500 EUR
Precio de salida 600 EUR

* Gastos de venta no incluidos.
Consulte las condiciones de venta para calcular el precio de los gastos.

Gastos de venta: 24 %
Dejar una orden
Inscribirse en la subasta

Subasta el martes 09 jul : 15:00 (CEST)
wwwsetdartcom, pays.null
Setdart.com
+34932463241
Ver el catálogo Consultar las CGV Información sobre la subasta

Entrega en
Cambiar dirección
Esta solución de entrega es opcional..
Puede recurrir al transportista de su elección.
El precio indicado no incluye el precio del lote ni los gastos de la subasta.

Podría interesarle

XAVIER MEDINA CAMPENY (Barcelona, 1943). "Venus de Brooklyn". Modelo basado en la escultura monumental de 1971. Escultura en bronce. Firmada y justificada, copia A.P. Medidas: 88 x 25,5 x 25,5 cm. Desde los años 70, años en los que el cuerpo humano estaba asumiendo el protagonismo más absoluto, la obra de Xavier Medina Campeny nos habla del dualismo entre lo geométrico y lo orgánico (lo conceptual y lo natural) y de la revisión del arte clásico y de las vanguardias. Xavier Medina Campeny, nieto del escultor Josep Campeny y bisnieto de Damià Campeny, es un escultor autodidacta, que hizo evolucionar su talante artístico hacia un estilo muy personal. Empezó a estudiar arquitectura en Barcelona, pero abandonó los estudios para iniciarse en el mundo de la escultura. Fue durante este periodo cuando se dedicó a este arte, con una formación autodidacta. Su larga trayectoria artística como escultor le ha llevado a trabajar con diversas técnicas y materiales. En cuanto a su primera exposición, la realizó en 1964. Después de diez años se trasladó a Nueva York, donde creó la mayor parte de su producción artística. Al cabo de unos años regresó a España para quedarse. Su estilo está estrechamente relacionado con las vanguardias, más concretamente con el dadaísmo. Su dominio del dibujo también le ha ayudado a relacionar elementos orgánicos con formas geométricas. Durante los años 1975 a 1989, desarrolló un lenguaje plástico del cuerpo humano, siendo una mezcla de lo anatómico con la geometría, que él mismo denominó "fragmentaciones". A la hora de realizar estos cuerpos, Medina desmenuza, divide y geometriza las partes del cuerpo humano para después volver a unirlas, con el fin de resaltar algunas partes que deja vacías. La obra Conversación (1979) reflexiona y nos habla del contraste entre lo ausente y lo presente. Por otro lado, la obra El espejo en Océano Atlántico, equilibra la forma con el fondo y trabaja el cuerpo sin fragmentarlo. La obra de Medina puede relacionarse con propuestas surrealistas. Por ejemplo, en el grupo Mimetismo animal, se aprecian en los animales actitudes humanas con expresiones irónicas. Desde 2003 se ha producido un cambio en el estilo del artista con respecto al cuerpo humano, en el que simplifica las formas y las transforma en cilindros alargados que para él son "piezas" con un significado simbólico. Las obras de Medina y Campeny han sido expuestas tanto en Europa como en América, donde cuenta con varias obras en museos e importantes instituciones, como: Museo Nacional de Arte Reina Sofía de Madrid, MACBA de Barcelona, Fundación Pagani de Legnano (Italia), Everson Museum de Siracusa (EEUU), Jimmy Carter Library & Museum de Atlanta, Georgia (EEUU), Bears Foundation de Nueva York (EEUU), North Carolina Museum of Art (EEUU), entre otros.