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"PEREJAUME"; BORRELL GUINART (Sant Pol de Mar, Barcelona, 1957). "El dibuix que sé fer dels dibuixos que se'n fan", 2020. Mixed media (collage, charcoal and oil) on paper. Signed. With label of the Joan Prats gallery in Barcelona. Measurements: 50 x 65 cm; 56 x 72 cm (frame). Painter, experimental artist and poet, Perejaume had a self-taught training, although influenced by artists such as Joan Brossa, with whom he will share a work halfway between painting and poetry. In 2005 he was awarded the National Prize for Visual Arts, granted by the Generalitat de Catalunya. The following year he was awarded the National Prize for Plastic Arts, from the Ministry of Culture. His work can be seen in the ARTIUM in Vitoria, the Centro de Arte Reina Sofía, the MACBA in Barcelona, the Museo Patio Herreriano in Valladolid, the Museum of Contemporary Art in Sydney, the Coca-Cola and Telefónica Foundations and the Chase Manhattan Bank Collection, the Caja Madrid Contemporary Art Collection, the European Central Bank in Frankfurt and the Deutsche Bank Collection, among other public and private institutions around the world.

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"PEREJAUME"; BORRELL GUINART (Sant Pol de Mar, Barcelona, 1957). "El dibuix que sé fer dels dibuixos que se'n fan", 2020. Mixed media (collage, charcoal and oil) on paper. Signed. With label of the Joan Prats gallery in Barcelona. Measurements: 50 x 65 cm; 56 x 72 cm (frame). Painter, experimental artist and poet, Perejaume had a self-taught training, although influenced by artists such as Joan Brossa, with whom he will share a work halfway between painting and poetry. In 2005 he was awarded the National Prize for Visual Arts, granted by the Generalitat de Catalunya. The following year he was awarded the National Prize for Plastic Arts, from the Ministry of Culture. His work can be seen in the ARTIUM in Vitoria, the Centro de Arte Reina Sofía, the MACBA in Barcelona, the Museo Patio Herreriano in Valladolid, the Museum of Contemporary Art in Sydney, the Coca-Cola and Telefónica Foundations and the Chase Manhattan Bank Collection, the Caja Madrid Contemporary Art Collection, the European Central Bank in Frankfurt and the Deutsche Bank Collection, among other public and private institutions around the world.

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JOAN HERNÁNDEZ PIJUAN (Barcelona, 1931 - 2005). Untitled, 1956. Oil on paper adhered to board. Signed, dated and dedicated in the upper left corner. Measurements: 50 x 64 cm; 81 x 97 cm (frame). This oil on paper belongs to an early stage of the artist in which he was interested in formal simplification, influenced by both avant-garde expressionism and Romanesque art. Joan Hernández Pijuan began his training in Barcelona, attending the La Lonja and Sant Jordi Schools of Fine Arts, before completing his studies at the School of Fine Arts in Paris. Appointed professor at the Faculty of Fine Arts in Barcelona in 1981, Hernández Pijuan occupies a unique position among Spanish artists of recent decades. The strength of his creative individuality places him on the fringes of the successive dominant trends and fashions, but does not prevent us from recognising in his work a profound identification with the aesthetic concerns of his time. Hernández Pijuan began his career practising a tragic expressionism with a strong social charge, and at this time he formed, together with the other members of the Sílex Group, the so-called Barcelona School. In the seventies he simplified his expression to the point of adopting geometric figuration, a style he left behind in the following decade to focus on informalism. In fact, interest in and fascination with this painter's career continues to be as strong as ever, and he is the subject of new exhibitions and public displays of his work. During his lifetime he had solo exhibitions in several Spanish cities as well as in Zurich, Milan, Johannesburg, Cologne, Geneva, New York, Paris and Osaka, among other cities around the world, and in 2003 he was the subject of a major retrospective exhibition at the MACBA in Barcelona, which was subsequently shown at the Musée d'Art et Histoire de Neuchatel (France), the Konsthalle de Malmö (Sweden) and the Galleria Comunale d'Arte Moderna in Bologna (Italy). Even after his death his work has continued to be shown internationally, as evidenced by the exhibitions dedicated to his work held at the Flowers Gallery in London (2006), the Cervantes Institutes in New York, Chicago and Lisbon (2007), the Museo de Arte Abstracto Español in Cuenca (2008), the Andres Thalmann Gallery in Zurich (2009), the Baukunst in Cologne (2010), the Altana Kulturstiftung in Bad Homburg (Germany, 2011) and the Museum of Modern Art in Moscow (2012), among many others. Hernández Pijuan was dean of the Faculty of Fine Arts at the University of Barcelona, and in 2000 he was appointed a member of the Real Academia de San Fernando in Madrid. In 1981 he received the Premio Nacional de Artes Plásticas, in 1985 the Cruz de Sant Jordi and, in 2004, the City of Barcelona Prize. He was also awarded the Prize of the Directorate General of Fine Arts at the National Exhibition in Alicante in 1957, the First Prize for Painting "Peintres Residents" in Paris (1958), the "Malibor" Prize at the Ljubljana Biennial of Engraving (1965), the International Biennial of Engraving in Krakow (1966) and the "Vijesnik u Srijedu" editorial prize in Zagreb (1970). Hernández Pijuán is represented at the MACBA, the Museum of Spanish Abstract Art in Cuenca, the Reina Sofía in Madrid, the Patio Herreriano Museum in Valladolid and the Basque Museum of Contemporary Art, as well as in foreign centres such as the Guggenheim Museum in New York, the Liaunig (Austria), the Helsinki Museum of Contemporary Art in Helsinki, the Helsinki Museum of Fine Arts in Finland, the Helsinki Museum of Contemporary Art in Finland, the Helsinki Museum of Fine Arts in Finland and the Helsinki Museum of Contemporary Art in Finland, those of Contemporary Art in Helsinki and Luxembourg, the Kulturstiftung in Bad Homburg (Austria), the Yamaguchi Gallery in Osaka (Japan), the Palace of Fine Arts in Brussels, the National Gallery in Montreal, the Museum of Modern Art in Buenos Aires and the Sztuki Museum in Lodz (Poland).

JOSEP ROCA SASTRE (Terrassa, 1928 - Barcelona, 1997). "From Lucas Cranach", 1953. Oil on canvas. Signed in the lower right corner. Signed, titled and dated on the back. With Oriol Galeria d'Art label on the back. Measurements: 100 x 80 cm; 105 x 86 cm (frame). The one now being auctioned is an early work of the painter Josep Roca Sastre, corresponding to a stage prior to the realization of his intimate interior scenes. The canvas is a metaphysical version of the work "The Three Graces" by Lucas Cranach the Elder, a panel painted by the master in 1531 and now kept in the Louvre Museum in Paris. Trained in Barcelona, in the sixties Roca began to develop a personal, independent style and created his own language. His proposal focused on recovering the look of the close and the everyday, the familiar. He exhibited for forty years in the Sala Parés in Barcelona, and also showed his work in other Spanish cities, as well as in the United States. In 1966 he was awarded the Sant Jordi prize by the Diputació de Barcelona, and two years later the medal of honor at the Salon des Artistes Français in Paris. In 1980 he became a member of the Royal Academy of Fine Arts of Sant Jordi, and in 1993 he was awarded the Quadern Prize of the Fundació Amics de les Arts i de les Lletres de Sabadell. Roca Sastre developed a figurative style of intimate themes, applying a personal and subjective look to his interior scenes as well as to his urban and natural landscapes. Since his death, retrospectives of Josep Roca's work have been held at La Pedrera and the Muncunill (Terrassa), Oriol (Barcelona) and Juan Oliver Maneu (Palma de Mallorca) galleries. His work is preserved in the National Museum of Art of Catalonia.

ALFONS BORRELL PALAZÓN (Barcelona, 1931-2020). Untitled. 1998. Mixed media on thick paper. Signed and dated. Measurements: 74 x 112 cm; 82 x 120 cm (frame). Alfons Borrell is considered one of the maximum exponents of the lyrical abstraction in Spain. In this composition the influence of Rothko and his floating color fields can be appreciated. Starting from symmetries and gestural abstractions, his work progressively simplified. With large monochrome surfaces - color has a structural protagonism in Borrell's work - often centered on a single geometric figure or on a graphic sign or dimensioning, the lyricism and austerity of this painting brings it closer to the interior or introspective landscape than to the will of representation. Born in Barcelona but settled in Sabadell since he was a child, Alfons Borrell trained in the fifties with Hermen Anglada Camarasa in Mallorca and at the Escola de Belles Arts in Barcelona. In 1960 he was part of the Grup Gallot, a collective created in Sabadell that practiced actions halfway between action painting and surrealist automatism that questioned the limits of authorship and the pictorial medium. In 1971, he participated in the creation of Sala Tres in Sabadell. A close friend of Joan Brossa and artists such as Perejaume, throughout his extensive career, his pictorial abstraction has been consolidating as an expressive corpus of great intensity and solidity. Since his first solo exhibitions in the late fifties, Borrell has presented his work in prominent art venues in the country and also in France, Germany, the United States and Japan. The art critic Alexandre Cirici invited him to participate in the inaugural exhibition of the first Museu d'Art Contemporani de Barcelona in the dome of the Coliseum Cinema in 1960. In 1978, he was part of the exhibition Seny i rauxa. 11 artistes catalans at the Centre Georges Pompidou in Paris. Among the numerous retrospectives of his work, those presented at the Centre Cultural Tecla Sala in L'Hospitalet de Llobregat (2006), the Museu d'Art de Sabadell (2007) and the Fundació Joan Miró in Barcelona (2015) stand out.