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JOSÉ MANUEL BROTO GIMENO (Zaragoza, 1949). "Hierros", 2000. Acrylic on canvas and wood. Signed, dated and titled on the back. Size: 100 x 100 cm. Aragonese painter framed within the new abstraction of the seventies, being considered as one of the most significant figures of contemporary Spanish painting, José Manuel Broto articulates his plastic language using colour, modulating it in subtle tonal variations that evoke musical symphonies. The artistic influences received throughout his career led him towards an abstraction close to artists such as Mark Rothko, Barnett Newman, Clyfford Still, Robert Motherwell and Sam Francis, based on lyricism and, in some cases, the sublime. The path opened up by Antoni Tàpies, who shunned the conceptual to practise a material art based on the essentiality of painting, was fundamental for him. Thus, in this work, Broto uses an abstract language, based on irregular geometry, free both in its layout and in its textures and colours. The pictorial forms are the fruit of duality, in that they are resolved by means of a thought-out composition and also by experimentation. The result is an image that transcends, indicating to the spectator that we are dealing with forms, ideas or suggestions that go beyond the boundaries of the purely pictorial. José Manuel Broto studied at the School of Arts and Crafts in Zaragoza, and exhibited his work for the first time in 1968 (Galdeano gallery), showing a style in line with constructivism. In 1972 he moved to Barcelona, where he founded the group Trama together with Javier Rubio, Xavier Grau and Gonzalo Tena. With this group he presented his work in 1976 at the Maeght gallery in Barcelona, with the support of Antonio Tàpies. Trama also published an art magazine of the same name, of which, however, only two issues appeared (1976-1977). However, after the dissolution of the group, Broto moved towards a language close to abstract expressionism, which incorporated a primitive natural landscape into his work. He showed these new works in his first solo exhibition in Paris, held in 1984 at the Adrien Maeght gallery. The following year he left Barcelona and settled in the French capital, where he spent ten years and coincided with other Spanish artists such as Barceló, Campano and Sicilia. During his Parisian period Broto replaced the romantic themes with more austere and abstract forms, and his work became filled with organic forms related to the ascetic and mystical tradition. In the mid-1980s he returned to Spain, this time settling in Mallorca. Already a mature artist, he practises a neo-abstraction directly linked to the Catalan school of the seventies, influenced in its origins by the aesthetic and plastic principles of the French group Soporte/Superficie, which in 1966 called for a return to painting after the disorder produced by the conceptual movements. From 1998 onwards, his range of themes broadened to include spatial figures, transparencies, atmospheric forms, etc., combined with a colourful treatment and a rigorous structure. Throughout his career, Broto has held numerous exhibitions, and has been awarded the National Prize for Plastic Arts (1995), the ARCO Prize of the Critics' Association (1997) and the Aragón Goya Prize for Engraving (2003). In 1995 the Reina Sofía Museum in Madrid dedicated a retrospective exhibition to him. He is currently represented in the Museo de Arte Abstracto Español in Cuenca, the FRAC (Midi-Pyrénées, France), the Chase Manhattan Bank Collection in New York, the Juan March Foundation, the Reina Sofía, the Metropolitan Museum in New York, the Fond National d'Art Contemporain in Paris, the Kampo Collection in Tokyo, the Tàpies Foundation in Barcelona, the DOVE Collection in Zurich, the Ateneum in Helsinki, the Peter Stuyvesant Foundation in Amsterdam, the Maeght in France, the La Caixa Collection in Barcelona, the Preussag in Hanover and the IVAM in Valencia.

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JOSÉ MANUEL BROTO GIMENO (Zaragoza, 1949). "Hierros", 2000. Acrylic on canvas and wood. Signed, dated and titled on the back. Size: 100 x 100 cm. Aragonese painter framed within the new abstraction of the seventies, being considered as one of the most significant figures of contemporary Spanish painting, José Manuel Broto articulates his plastic language using colour, modulating it in subtle tonal variations that evoke musical symphonies. The artistic influences received throughout his career led him towards an abstraction close to artists such as Mark Rothko, Barnett Newman, Clyfford Still, Robert Motherwell and Sam Francis, based on lyricism and, in some cases, the sublime. The path opened up by Antoni Tàpies, who shunned the conceptual to practise a material art based on the essentiality of painting, was fundamental for him. Thus, in this work, Broto uses an abstract language, based on irregular geometry, free both in its layout and in its textures and colours. The pictorial forms are the fruit of duality, in that they are resolved by means of a thought-out composition and also by experimentation. The result is an image that transcends, indicating to the spectator that we are dealing with forms, ideas or suggestions that go beyond the boundaries of the purely pictorial. José Manuel Broto studied at the School of Arts and Crafts in Zaragoza, and exhibited his work for the first time in 1968 (Galdeano gallery), showing a style in line with constructivism. In 1972 he moved to Barcelona, where he founded the group Trama together with Javier Rubio, Xavier Grau and Gonzalo Tena. With this group he presented his work in 1976 at the Maeght gallery in Barcelona, with the support of Antonio Tàpies. Trama also published an art magazine of the same name, of which, however, only two issues appeared (1976-1977). However, after the dissolution of the group, Broto moved towards a language close to abstract expressionism, which incorporated a primitive natural landscape into his work. He showed these new works in his first solo exhibition in Paris, held in 1984 at the Adrien Maeght gallery. The following year he left Barcelona and settled in the French capital, where he spent ten years and coincided with other Spanish artists such as Barceló, Campano and Sicilia. During his Parisian period Broto replaced the romantic themes with more austere and abstract forms, and his work became filled with organic forms related to the ascetic and mystical tradition. In the mid-1980s he returned to Spain, this time settling in Mallorca. Already a mature artist, he practises a neo-abstraction directly linked to the Catalan school of the seventies, influenced in its origins by the aesthetic and plastic principles of the French group Soporte/Superficie, which in 1966 called for a return to painting after the disorder produced by the conceptual movements. From 1998 onwards, his range of themes broadened to include spatial figures, transparencies, atmospheric forms, etc., combined with a colourful treatment and a rigorous structure. Throughout his career, Broto has held numerous exhibitions, and has been awarded the National Prize for Plastic Arts (1995), the ARCO Prize of the Critics' Association (1997) and the Aragón Goya Prize for Engraving (2003). In 1995 the Reina Sofía Museum in Madrid dedicated a retrospective exhibition to him. He is currently represented in the Museo de Arte Abstracto Español in Cuenca, the FRAC (Midi-Pyrénées, France), the Chase Manhattan Bank Collection in New York, the Juan March Foundation, the Reina Sofía, the Metropolitan Museum in New York, the Fond National d'Art Contemporain in Paris, the Kampo Collection in Tokyo, the Tàpies Foundation in Barcelona, the DOVE Collection in Zurich, the Ateneum in Helsinki, the Peter Stuyvesant Foundation in Amsterdam, the Maeght in France, the La Caixa Collection in Barcelona, the Preussag in Hanover and the IVAM in Valencia.

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JOSÉ LUIS ALEXANCO (Madrid, 1942-2021). "Boscuman", 1991. Acrylic on cotton canvas. Signed and dated on the back. Titled and dated on the stretcher frame. Measurements: 150 x 150 cm; 154 x 154 cm (frame). Alexanco studied drawing and engraving with Manuel Castro Gil at the Casa de la Moneda, in Madrid, and in 1960 he enters the School of Fine Arts. Between 1968 and 1974 he collaborated with other artists at the University's Calculus Center, where he worked on sculptural generation programs, in collaboration with the American company IBM. During this period he met the mathematician José Barbera, and together they developed the software MOUVNT, designed to generate automatic forms that would later materialize in anthropomorphic sculptures. In 1970, together with Luis de Pablo, he created the acoustic plastic show "Soledad Interrumpida", trained in Buenos Aires. In the following years he would continue to work with the same author on various projects, including the organization of the Pamplona Encounters of 1972. In 1978 he designed the prince edition of the Spanish Constitution for the Editora Nacional, and in 1998 he presented an important retrospective exhibition at the Centre d'Art Santa Mònica in Barcelona (later at the Círculo de Bellas Artes in Madrid). A referent of late Francoist painting and a technological innovator, his work is part of collections such as those of the Victoria & Albert Museum in London, The Chase Manhattan Bank in New York, MNCARS, Madrid; MACBA, Barcelona or the Juan March Foundation.

MIGUEL ÁNGEL CAMPANO (Madrid, 1948 - 2018). Untitled.1993. Oil and acrylic on linen. Signed and dated on the back. Work reproduced in: -Santiago Olmo, "Miguel Ángel Campano. Paintings 1993", Ed. Gallery Juana de Aizpuru, Madrid 1993, p. 12 -Santiago Olmo, "Campano", Ed. Association Fortant de France, Setè 1994, p. 45. -Santiago Olmo, "Miguel Ángel Campano", Ed. Sa Nostra, Social and Cultural Work, Palma de Mallorca 1997, p. 19". Measurements: 266 x 195 cm. We are before a composition of great format that conjugates the visual effect that results from the chromatic and conceptual contrast between two opposite colors, the white and the black, at the time that explores the imperfection of the minimal deceptively geometric forms: the deformed oval, the point that expands in spot. These hollowed out forms are characteristic of the works made by Campano in the early nineties, which he had already begun to explore when he abandoned figuration. The artist claimed to be influenced by his travels to Asian countries. In the nineties, he used only black oil. Campano reinvented himself again and again. From the 1990s onwards, Campano's work underwent different processes of stripping: on the one hand, references to tradition were cut and, on the other, color was excluded from his painting, working only in black on bare canvas. Reflection on geometry, on the other hand, became a key aspect of his production. Miguel Ángel Campano is one of the referents of the so-called renovation of Spanish painting, which took place in the eighties and in which Ferrán García Sevilla, José Manuel Broto, José María Sicilia and Miquel Barceló also participated. In the 70's he moved to Paris thanks to a scholarship; the planned year became a stay of more than ten, there he lived and developed his brilliant pictorial career. Then he went to live in Mallorca. In 1980 he was part of the exhibition Madrid DF, in the Municipal Museum of Madrid, along with several artists among whom were the same ones that today -except García Sevilla- accompany him in the Palacio de Velázquez. Five years later he was selected, together with other fellow artists of his generation, then all young painters, such as Miquel Barceló, who was already an outstanding figure, and José María Sicilia, for a group exhibition in New York. In 1996 he was awarded the National Prize for Plastic Arts. He had just suffered a serious stroke and underwent surgery in Madrid. This forced him to spend several months without painting. Then he painted "only in black", a very symbolic color according to his own words. Three years later, the Reina Sofia Museum organized in this same Palacio de Velazquez an exhibition dedicated to his recent work then, that of the 90s. His works are exhibited in the most important museums, such as the British Museum in London, the Pompidou Center in Paris and the Centro de Arte Contemporáneo Reina Sofía in Madrid.