Juan Geonvés, 2018 by Marlborough Gallery

Juan Genovés

ILLUSTRATED ON THE COVER: Cortado, 2018, acrylic on canvas on board, 39 3/8 x 39 3/8 in., 100 x 100 cm

Juan GenovÃ©s

September 13 - October 13, 2018

40 W E ST 57 T H ST R E E T | N E W YO R K | 1 0 01 9 212 541 4900 | MARLBOROUGHGALLERY.COM

Termodinรกmica, 2017, acrylic on canvas on board, 98 3/8 x 70 7/8 in., 250 x 180 cm

JUAN GENOVÉS: AN ARTIST’S LIFE by Armando Montesinos & Mariano Navarro

“Buddhists say that there are two moments of illumination in a day, one before falling asleep and the other upon waking up. In my case, that’s true, it happens to me. If it occurs before falling asleep, it’s annoying, because I have to get out of bed to capture the idea on a sheet of paper in order to be able to remember it the next day. But if it happens upon waking, it can sometimes be wonderful”. 1 Genovés’s assistant, Leonardo Villela, told us how that was a revelation for the artist: “A little over ten years ago he discovered that four o’clock in the morning was when he was at his best. He told himself: ‘Why should I stay in bed if I can go up to the studio and start painting right away.’ He usually paints his backgrounds at five in the morning. That’s the time of day he has no fear of the blank canvas”

Thus begins the work routine that structures all the hours of the day. When he wakes up in the morning he works in solitude in his studio for four or five hours. Once his assistant arrives, he continues working until midday, when he takes a brief break, usually a walk through the neighborhood around his house in Aravaca in the suburbs of Madrid. After lunch and a short nap, he returns to the studio, where either he continues working on what he started in the morning, or he draws, exploring new series or ideas. Once the sun goes down, he reads. In the nearly twenty years since the turn of the century, Juan Genovés has devoted himself almost entirely to his creative work. He has not turned away from his political ideas and activism of the four previous decades, but he has scaled back the amount of time he devotes to them daily. Genovés, who was born in 1930 and endured the Spanish Civil War as a child, was an active opponent of General Franco’s dictatorship, with all of the danger associated with that position. After the dictator’s death, Genovés’s contributions to Spain’s democratic renaissance were exemplary. He worked tirelessly from the late nineteen seventies to establish cultural institutions and associations. Today, Juan Genovés is an icon of civic engagement for many generations of Spaniards, including the youth involved in new social movements. His work so far this century places him squarely in the company of those great artists whose longevity in no way diminished the quality of the work that made them famous. On the contrary, De Kooning, Cy Twombly, Antóni Tàpies or Jasper Johns, just to name an illustrious few, remained utterly contemporary, both in their discourse and in their spirit of exploration, all the while creating at a pace that belied their ages. “My latest pieces are no less intense because I am working against time. To be able to cause the viewer to confuse the “normal” with that which is not, with the addition of what is “thought out”— making it appear to be by chance, when it is not: digging deep into what lies hidden in the canvas, provoking discoveries.” 1. Unless otherwise specified, the quotations are those of Juan Genovés. They are excerpted from a conversation that took place specifically for this catalogue. It was one among the many that the authors, along with Alicia Murría, had over the past two years with the artist and the people close to him, in order to write an extensive biography of the artist, soon to be published in Spain.

Genovés achieved worldwide recognition in the mid-nineteen sixties with his paintings of crowds, or “multitudes”. Those works explored images of escape, surveillance, and repression… they were scenes dominated by fear. The crowds were seen, more often than not, as if through the telescopic sight of a gun, or from a distance, through a camera’s lens, giving them an unmistakably cinematic quality. Alicia Murría characterized that seminal period very well: “Genovés adopted some of the strategies of Pop art such as references to mass media and film, the use of images taken from the press, and techniques such as the use of spray paint, stamps, and stencils that enabled him to repeat or multiply a given motif. That motif was almost always the human figure, at times reminiscent of Eadweard Muybridge’s studies of the figure in motion. He incorporated those resources into his work, creating a language in which the loneliness of the modern individual blended with intense scenes of repression, torture, and violence that alluded to the political situation in Spain.” 2 Those harsh paintings, in black and white or earth tones that reflected that dark period and its deprivations of freedom, have given way in recent years to works where color prevails. These works embody a certain metaphysics of beauty, in which the artist’s joy in his work can be sensed. They are the fruits of a full life. His tireless exploratory spirit is always able to bring forth discoveries that engage and appeal to the viewer. The bird´s eye view in almost all of the paintings no longer implies that surveilling or repressive gaze. Rather, it is a different, omniscient point of view, one that contemplates everything that is occurring. It is a narrative gaze, more neutral, but never indifferent. What is it telling us? “Throughout the history of art, painters saw what lay in front of them. However, as everyone knows, a single finger can block out the sun. What is right in front of you can obscure so many things, so I thought it better to look from above, in order to find clarity. Who knows, I may have been influenced by my fondness for soccer, whose beauty can be best appreciated when seen from above. When it is seen at ground level, almost everything is hidden — the players all block each other from view.” Often, when Genovés comes home from having seen a soccer match in his native Valencia, where he frequently goes, he brings dozens of photographs of the people entering or leaving the stadium home with him. Arranged in different ways, these images are the seeds for many of his paintings. “Just as the beauty of soccer is revealed to me by watching it from the upper stands, I also have the crowd, before or after the game, seen from above. The people, grouped in the same way as they are on the canvas, speak to me; they have a language of their own. It is intriguing visually to see how things change as they exit. Depending on if the game was lost or won, it is totally different. When I have it in photographs, I can then study it in peace. This search for sensations is thrilling to me.” “I think that everyone understands the language of photography. I’ve been working with this language for a long time, but disguised, saying things that cannot be said with photography — the variety of materials, texture, false perspective, and all of the discoveries that I make along the way. I am like a hunter, tirelessly going after his prey.” 2. Alicia Murría, “Juan Genovés, pintor de los conflictos humanos”, catalogue Juan Genovés. Multitudes, Museo MAC, A Coruña, 2015, p. 55.

In this exhibit, composed chiefly of works dated from last year, there is a collection of paintings– Entropía, Termodinámica, Distante, Conexo, Desviaciones, and Fusión – in which the crowd gathers within or moves through a large central void, which is, at the same time, an area of pure color play. In Fusión, a large diptych, there is a space resembling a bullring, an arena, and something is happening there. Why are the figures still? What are they waiting for, frozen before a sacred site, yet also an empty space, inhabited only by color? “In a given situation, people grouped together create a kind of shelter. We gather to defend ourselves, to recognize ourselves, to be one among many. When we find ourselves engulfed in a crowd, we always feel, albeit in different ways, that we are here, alive — and in the face of the unknown, the mystery of being alive, we know that we are not alone. Up against the anguish of loneliness, there is an almost electric feeling in gathering together in a group, something special and surprising when you ask yourself what you are doing there, in that moment. I am yelling, I am singing, I am running, happy or fearful, terrified, in spite of myself, and so many things that are unimaginable in the realm of reason.” “Sometimes, as if someone were whispering to me, I hear the murmur of the crowd, their cries, their rhythms. Oh, happiness! Those are glorious moments; I paint and paint, calmly, and time flies. On the contrary, when the surface is calling to me and I do not understand what it is saying, annoyance and anger take over. ‘This looks like it’s going nowhere, best to abandon it,’ I tell myself. But I am obsessed, I keep trying and trying to resolve the painting, and the result is dreadful.” “It is important to follow the painting’s tempo. Some paintings demand haste, others are lazy, and require slowness and calm. That tempo emerges out of the process, and the canvas tells me as I go along, sometimes it yells it at me, other times, little by little, it guides me. The work is in charge. It does no good to get ahead of oneself, one has to have confidence, perseverance, and to forge ahead, aware of the here and now, step by step.” This exhibit is a collection of pieces characterized by sumptuous color play on backgrounds of particular chromatic and physical richness. This can be seen in Asentamiento, with its heavily worked aqueous green and small areas in relief, also visible in Embarrados. In both, intriguing variations are present in the composition and structure of the crowds. Perhaps the principal defining trait of all of these paintings is the exuberance of the individualized treatment of the dozens or hundreds of human figures that populate them. Leo Villela tells us: “It was in 2005 that he began to make the figures using just one color, and a large amount of modeling paste. He then began to transform them into elements with greater volume, more complex and varied. We have a lot of bottles in the studio, full of acrylic gel. That is what provides the volume. The gel can be opaque or transparent, and it comes in every color imaginable. He mixes it, and then he incorporates many little details from his walks on the beach in Valencia, small shells, bones, and sand. We also collect buttons and everything that we find. We have several boxes with all kinds of beads. “He has a process of working directly on the canvas…objects that are gathered, odds and ends, wires. Today, for example, he came up with a new way to paint legs. He got a clip, tied it with tape to the wooden handle of a paintbrush, and created the structure of a fountain pen. He wet the little

tip of the clip and started painting the legs. We’ve been doing that this morning; he is improvising as he goes along. Juan is always changing his creative process. He rarely repeats the same technique. He loves to experiment with materials, shadows, modeling paste, to create more volume. It is a playful environment. Juan has fun as he works, it nourishes and entertains him.” “Culture is play”, Genovés asserts. “It is the only activity that connects us to animals. To play is to learn, to stop playing is to give up.” “Starting when I was very small, my father used to give me a visual test: he would scribble something instinctively on a sheet of paper and then hand it to me, saying: ‘Let’s see what you make of it.’ I was crazy about that experiment. I would follow him around, begging him, ‘Scribble for me!’ Those scribbles my father made had a life of their own. So, that is emblazoned in my memory. I follow my assistants around asking them to make a “scribble” (a background) for me, so that I can then alter it, sometimes completely. It gives the illusion of not starting from a blank space and lets my imagination run wild, as in a dream. It embodies two concepts for me, existence and representation. I think that objects and textures on canvas are capable of reflecting on their own, freeing themselves from the spectator and carrying on their own conversation.” “In the realm of visual art, each element is not limited to one function alone, rather it has many. For me, the little figures fulfill the missions of realism and humanity, in that they represent how we are all the same, but also different. Visually, they occupy points in space. Any grouping in space that occurs by chance indicates “normalcy” to the eyes of the spectator. But if we add one or more elements to modify it, it immediately becomes “false” for the viewer. For me, that presents a problem. I am learning to modify the “normal”, without what is “false” becoming apparent. I use what is called VP3 in three point perspective: it is the third vanishing point, where the verticals vanish; but I lay traps, in which the illusion is not apparent, and therefore, appears to be real. However, I am certain that these elements have other functions which I have yet to discover. I have always been a collector of “found objects”. They thrill me, and I have thousands, which I use with pleasure.” The cast shadow is a very important element in those figures. Each figure is anchored in an undefined space by its unique shadow. In using this technique, Genovés is linked to Velázquez, in whose paintings we see the same approach, as in El Infante Don Carlos or Pablo de Valladolid. “I am aware of having lost the treasure that was my childhood mind. That expansive, luminous, optimistic child’s gaze; children have no awareness of the shadow. I lost that gaze when I encountered the shadow, when I started to think about it. My discovery was so important to me, and I talked about it so much, that my classmates started using the nickname ‘Sombra’ for me. That was when I landed in the prison of culture, and I am still behind those bars.” In every Juan Genovés exhibit, there is a group of works that set out to explore directions not touched upon previously. In our opinion, that is the case in this exhibit with Catafalco. It is a midsized painting which, through the use of black lines and white surfaces, builds what appears to be a structure that is seen from a disorienting perspective, making it behave like a kind of visual trick. That false edifice, with a grid that simulates a vertical ascent, is crowned by a solitary individual. It is a structure, suggesting perhaps power, superimposed on reality.

Mikado makes reference, perhaps, to the game of pick-up sticks. There is a festive quality to it. It is as if some of the figures were projecting beams of light, which are in fact narrow white areas that connect those figures to each other. In Propiedades, the figures are arranged on a group of irregularly shaped geometric spots that in some instances contain a meandering thread. It is the piece in the exhibit with the most obvious social meaning. The property owners lay claim to their scraps of territory, while the poor are left to wander through the unoccupied spaces. Each of them is in their “place”, on their own lawn or property, while a handful of the deprived roam through the desolate spaces that lie between them. In Terrenal, a diagonal slash on the upper edge of the canvas creates both the notion of a boundary and a dark abyss. It is not clear if the people are fleeing from it or running toward it. And finally, in Umbral and Vaivenes there are backgrounds that, in contrast to Asentamiento, delineate the places and pathways where the figures wander about. When we convey our admiration to Genovés for his command of drawing and different painting techniques, his response to us is swift, but considered, “At the same time that I am painting, I am getting used to the passage of time. I am studying the aging processes in myself. Being curious, as I have always been, I am constantly examining and surprising myself.” “Vivid memories of my childhood and youth, when I was first learning to draw and discovering painting, come to my mind regularly,” the artist remarks. “Memories that I had forgotten reappear, and I make them current, and introduce them into the present moment as a new sensation. They are difficult for me to explain, because they are visual sensations, and language comes up short when it comes to expressing what the eyes see. The very idea of them is in a visual language. How can I describe my excitement upon discovering ‘that little mound that gets thicker when I add pigment to it, and that gets picked up with the brush as a either a damp droplet or a semi-dry droplet’? It sounds silly, because it has nothing to do with those words, it’s just an example, but it is a collection of wordless illusions: mute, yet resounding.” At the end of our conversation, the artist tells us: “If I look back, I see myself as old, but if I look forward, into the present, I see myself as young as ever. Are we what we remember? Are we what we forget? Maybe I am not so content, because I want to paint more and more.” And he smiles that smile that we know so well.

Mikado, 2017, acrylic on canvas on board, 51 1/8 x 63 in., 130 x 160 cm

Terrenal, 2016, acrylic on board, 70 7/8 x 98 3/8 in., 180 x 250 cm

Axioma #1, 2018, acrylic on canvas on board, 39 3/8 x 39 3/8 in., 100 x 100 cm

Catafalco, 2017, acrylic on canvas, 39 3/8 x 39 3/8 in., 100 x 100 cm 14

Disperso, 2018, acrylic on canvas, 39 3/8 x 39 3/8 in., 100 x 100 cm 15

Propiedades, 2017, acrylic on canvas on board, 59 x 70 7/8 in., 150 x 180 cm

Umbral, 2017, acrylic on board, 63 x 51 1/8 in., 160 x 130 cm 18

Vaivenes, 2017, acrylic on board, 47 1/4 x 59 in., 120 x 150 cm 19

Joli, 2017, acrylic on canvas on board, 39 3/8 x 39 3/8 in., 100 x 100 cm

Fusiรณn, 2017, acrylic on canvas on board, each panel: 82 5/8 x 63 in., 210 x 160 cm

Asentamiento, 2017, acrylic on board, 51 1/8 x 63 in., 130 x 160 cm

Distante, 2017, acrylic on canvas on board, 39 3/8 x 39 3/8 in., 100 x 100 cm 26

Desviaciones, 2017, acrylic on canvas on board, 70 7/8 x 59 in., 180 x 150 cm 27

Movimiento, 2017, acrylic on nylon, 63 x 51 1/8 in., 160 x 130 cm 28

Septimo, 2017, acrylic on canvas on board, diameter: 78 3/4 in., 200 cm 29

EntropĂa, 2017, acrylic on canvas on board, 82 5/8 x 63 in., 210 x 160 cm

Tramado, 2017, acrylic on board, 31 1/2 x 23 5/8 in., 80 x 60 cm 32

Persisten, 2018, acrylic on board, 78 3/4 x 59 in., 200 x 150 cm 33

Vislumbre, 2017, acrylic on canvas on board, diameter: 78 3/4 in., 200 cm 34

Vacio, 2017, acrylic on canvas on board, 59 x 47 1/4 in., 150 x 120 cm 35

Embarrados, 2017, acrylic on canvas on board, 82 5/8 x 63 in., 210 x 160 cm

JUAN GENOVÉS

PUBLIC COLLECTIONS

Centre National d`Art Contemporain, Paris, France Nationalgalerie, Staatlische Museum zu Berlin, Germany Neue Galerie der Stadt, Aachen, Germany Kulturministerium Badem-Württemberg, Stuttgart, Germany Museum fur Moderne Kunst, Frankfurt, Germany

UNITED STATES

Museum Boymans-van Beuningen, Rotterdam, Holland

Andrew Dixon White Museum, Ithaca, New York Arkansas Arts Center, MacArthur Park, Little Rock, Arkansas Carnegie Museum of Art, Pittsburgh, Pennsylvania Hirshhorn Museum and Sculpture Garden, The Smithsonian Institution, Washington, DC Madison Art Center, Madison, Wisconsin Minneapolis Institute of Arts, Minneapolis, Minnesota Nelson-Atkins Museum of Art, Kansas City, Missouri Ohio University College of Fine Arts, Athens, Ohio Pérez Art Museum Miami, Florida The Art Institute of Chicago, Chicago, Illinois The Museum of Modern Art, New York, New York The Solomon R. Guggenheim Museum, New York, New York Worcester Art Museum, Worcester, Massachusetts

The Israel Museum, Jerusalem, Israel

Born in Valencia, Spain, on May 31st, 1930 The artist lives and works in Madrid, Spain.

Galeria Nazionale d`Arte Moderna, Rome, Italy Nagasaki Prefectural Art Museum, Nagasaki, Japan Museo de Arte Moderno, Mexico City, Mexico Museo Rufino Tamayo, México City, Mexico Museo de Arte Contemporáneo, Managua, Nicaragua Museo Itinerante, Nicaragua Muzeum Lódz, Lódz, Poland Muzeum Narodowum, Wroclaw, Poland

INTERNATIONAL

South African National Gallery, Cape Town, South Africa Pretoria Art Museum, Arcadia, Pretoria, South Africa

Museo Internacional Arte Contemporáneo, Guinea, Africa

Museo de Bellas Artes de Caracas, Venezuela

Power Gallerie of Contemporary Art, University of Sydney, Sydney, Australia

SPAIN

Museum Moderner Kunst, Vienna, Austria Musées Royaux des Beaux-Arts de Belgique, Brussels, Belgium Museu de Arte Moderno, Río de Janeiro, Brazil Montreal Museum of Fine Arts, Montreal, Canada Museo de la Solidaridad Salvador Allende, Santiago de Chile, Chile Museo de Arte Moderno, Bogotá, Columbia Museo Nacional de Bellas Artes de La Habana, Havana, Cuba Sainsbury Center for the Visual Arts, Norwich, England Taidehalle Ateneum, Helsinki, Finland

Asamblea de Madrid, Madrid Centro-Museo Vasco de Arte Contemporáneo/ARTIUM, Vitoria- Gasteiz Colección Amigos del Centro de Arte Reina Sofía, Madrid, Spain Colección Argentaria, Madrid Colección de Arte del Siglo XX, Alicante, Spain Colección Bancaixa, Valencia Colección de Arte Contemporaneo Fundación “la Caixa” (Obra Social), Barelona, Colección Caixa d`Estalvis, Valencia, Spain Colección Caja Madrid, Madrid Colección Caja Murcia, Murcia Colección Generalitat Valenciana, Valencia Congreso de los Diputados, Madrid Fundación AENA, Madrid Fundación Caja de Granada, Granada, Spain Fundación Juan March, Madrid Fundación Marcelino Botín, Santander

Instituto Cultural Juan Gil Albert, Alicante Instituto Valenciano de Arte Moderno (IVAM), Valencia Museu d`Art Contemporani dels Països Catalans, Banyoles, Gerona, Cataluña Museo de Arte Contemporáneo de Ayllón, Segovia Museo de Arte Contemporáneo de Cáceres, Cáceres Museo de Arte Contemporáneo de Vilafamés, Castellón Museo de Arte Contemporáneo Patio Herreriano, Valladolid Museo de Arte Contemporáneo Unión Fenosa, La Coruña Museo de Bellas Artes de Álava, Álava Museo de Bellas Artes de Valencia, Valencia Museo de Cuenca, Cuenca Museo de Santa Cruz de Toledo, Toledo Museo del Ayuntamiento de Valencia, Valencia Museo Municipal, Madrid Museo Nacional Centro de Arte Reina Sofía, Madrid Museo de Elche, Elche Palacio de la Moncloa, Madrid Patrimonio Nacional del Estado Español, Madrid

S E L E C T E D S O LO E X H I B I T I O N S 2018 2017 2016 2015 2014 2013 2012 2011

La intensidad del silencio, Museo Patio Herreriano de Valladolid, Valladolid, Spain. Irreversible, obra gráfica reciente, Galería Marlborough, Barcelona, Spain. Aledaños, obra gráfica reciente, Galería Marlborough Madrid, Spain. Juan Genovés: Recent Paintings, Marlborough Gallery, New York Juan Genovés. Ir y volver, Galería Aurora Vigil Escalera, Gijón, Asturias, Spain. Multitudes en transformación, Galería Art Nueve, Murcia, Spain. Multitude,. Centro Cultural Las Claras Cajamurcia, Murcia, Spain. Juan Genovés: Multitudes, Museo de Arte Contemporáneo Gas Natural Fenosa, MAC, La Coruña, Spain. Juan Genovés: Recent Paintings, Marlborough Fine Art, London, England XXVII Biennale des Antiquaires de Paris, Grand Palais, Paris, France Anar i torna, Galería Marlborough, Barcelona, Spain. Crowds, Centro del Carmen, Valencia, Spain. Crowds. À cent mètres du centre du monde, Centre d’Art Contemporain, Perpignan, France Obra reciente, Galería Marlborough Madrid, Madrid, Spain. Marlborough Gallery New York, New York A retrospective, Naples Museum of Art, Naples, Florida Galería Mayoral, Barcelona, Spain.

2009 2007 2006 2005 2003 2002- 2003 2002 2001 2000 1999- 2000

Recent Paintings, Marlborough Gallery Chelsea, New York Recent Paintings, Marlborough Fine Art London, London, England. Recent Paintings, Marlborough Gallery New York, New York Galería Marlborough Madrid, Madrid, Spain Museo Salvador Victoria, Rubielos de Mora, Teruel, Spain. Retrospectiva, Centro de Arte Palacio Almudí, Murcia, Spain Galería Punto, Valencia, Spain Pintures, dibuixos i escultures (1994-2004), Fundación Bancaja, Valencia, Spain Obra reciente, Galería Marlborough Madrid, Madrid, Spain Caminos, Arte y Naturaleza, IVAM, Valencia, Spain Sueños y Secuencias, Centro Cultural Isabel de Farnesio, Aranjuez, Madrid, Spain Fundación CIEC, Betanzos, La Coruña, Spain Pinturas (1963-2002) Museo Provincial de Jaén, Jaén, Spain Centro Cultural Fundación Caja de Granada, Granada, Spain Centro Cultural de Almería, Almería, Spain Galería Italia, Alicante, Spain Galería Barcelona, Barcelona, Spain Retrospectiva (1992-2002), Sala Antonieta Rivas Mercado, Museo de Arte Moderno, México DF Galería Pedro Torres, Logroño, La Rioja, Spain Pequeño formato, Galería Marlborough Madrid, Madrid, Spain Galería Punto, Valencia, Spain Galería Ármaga, León, Spain Genovés. Peintures 1960-2001. La Bellevue Biarritz, Biarritz, France Sequências Galería Dos Coimbras, Braga, Portugal Museo de Arte Contemporáneo Unión Fenosa, La Coruña, Spain Pinturas 1960-2000, Galería Marlborough Madrid, Madrid, Spain Genovés, Secuencias (1993-98) y Sueños (1995-969) Museo de Nacional de Bellas Artes, Buenos Aires, Argentina Museo Nacional de Artes Visuales, Montevideo, Uruguay Fundação Bienal de Artes Visuais do Mercosul, Porto Alegre, Brazil Museo de Arte Contemporaneo Sofia Imber, Caracas, Venezuela Museo de Arte Moderno, Santo Domingo, Dominican Republic Museo de Arte de Lima, Lima, Peru Centro Wilfredo Lam, Havana, Cuba

1999 1998 1997

1996 1995 1994 1993 1992 1991 1990 1989 1987 1986 1985 1984 1983- 1987

Secuencias, Sala Robayera, Ayuntamieto de Miengo, Cantabria, Spain Silencio, Silencio 1970. Galería Marlborough Madrid, Madrid, Spain Marlborough Gallery New York, New York Caja de Ahorros Municipal de Pamplona, Pamplona, Spain Galería Punto, Valencia, Spain Sala García Castañón, Pamplona, Spain Secuencias 1996-97, Galería Marlborough Madrid, Madrid, Spain Galería Punto, Valencia, Spain Secuencias Tardor Cultural 97, Sala Quatre Cantons, Vilafamés, Spain Centro Municipal de Cultura, Ayuntamiento de Castellón, Castellón, Spain Galería Varrón, Salamanca, Spain Galería Marlborough Madrid, Madrid, Spain Galería Barcelona, Barcelona, Spain Fundación Marcelino Botín, Santander, Spain Sala Pelaires, Palma de Mallorca, Spain Antológica, Instituto Valenciano Arte Moderno (IVAM), Centre Julio González,Valencia, Spain Galería Punto, Valencia, Spain Sala Luzán, Caja de la Inmaculada (CAI), Zaragoza, Spain Palacio Revillagigedo, Gijón, Asturias, Spain Galerie Patrice Trigano, Paris, France Retrospectiva, Fundación Caixa Galicia, La Coruña, Spain Retrospectiva, Sala José María Fernández, Málaga, Spain Retrospectiva, Museo de San Telmo, San Sebastián, Spain Galería Barcelona, Barcelona, Spain Centre Municipal de Cultura, Alcoi, Alicante, Spain Galería del Coleccionista, Madrid, Spain Galería Punto, Valencia, Spain Galería Altxerri, San Sebastián, Spain Galería Quintana, Bogotá, Colombia Galería Punto, Valencia, Spain Museo de Albacete, Albacete, Spain Urban Landscapes, Marlborough Gallery New York, New York Genovés. Retrospectiva Sala de Exposiciones La Caixa, Valencia, Spain Agrupación del Partido Comunista del País Valenciano y España, Benicalap, Valencia, Spain Ayuntamiento de Buñol, Valencia, Spain Sala Municipal d’Exposicions, Paiporta, Valencia, Spain Casa de la Cultura, Mislata, Valencia, Spain Sala d’Exposicions Quart de Poblet, Valencia, Spain

1982 1981 1980 1977 1976 1974 1973 1972 1971- 1972 1969 1967 1966 1965 1962 1960 1958 1957

Sala Municipal de Exposiciones, Alaquàs, Valencia, Spain Museo Etnológico Municipal, Valencia, Spain Museo de Albacete, Albacete, Spain Galería Rayuela, Madrid, Spain Museo de Arte Contemporáneo, Cáceres, Spain Palacio de la Lonja, Zaragoza, Spain Colegio de Arquitectos, Murcia, Spain 20 años de Pintura (1962-1982) Centro Cultural de la Villa de Madrid, Madrid Salas del Ayuntamiento de Valencia, Valencia, Spain Galería Theo, Valencia, Spain Sala de Exposiciones del Ayuntamiento de Logroño, Logroño, La Rioja, Spain Galería Yerba, Murcia, Spain Galería Cuatro, Valencia, Spain Marlborough Gallery, New York, New York Galería Arte-Contacto, Caracas, Venezuela Marlborough Gallery AG, Zurich, Switzerland Galería Alcoiarts, Altea, Alicante, Spain Galería Arte-Contacto, Caracas, Venezuela Marlborough Gallery New York, New York Marlborough-Godard Gallery, Toronto, Canada Marlborough-Godard Gallery, Montreal, Canada Galería Vandrés, Madrid, Spain Galería Val i 30, Valencia, Spain Fundación Eugenio de Mendoza, Caracas, Venezuela Museo de Arte Moderno, Bogotá, Columbia Museo Boymans-van-Beuningen Museum, Rotterdam, The Netherlands Genovés Frankfurter Kunstverein, Frankfurt, Germany Haus am Waldsee, Berlín, Germany Württembergischer Kunstverein, Stuttgart, Germany Stadtische Kunsthalle, Recklinghausen, Germany Tokyo Gallery, Tokyo, Japan Marlborough Galleria d’Arte, Rome, Italy Galleria La Bussola, Torino, Italy Marlborough Fine Art London, London, England Marlborough-Gerson Gallery, New York, New York Museo de Bellas Artes y Arte Moderno, Bilbao, Spain Galería Relevo, Copacabana, Río de Janeiro, Brazil Sala Dirección Generales de Bellas Artes, Madrid, Spain Galería Diario de Noticias, Lisbon, Portugal Ateneo de Madrid, Madrid, Spain Ateneo Puertorrigueño, San Juan, Puerto Rico Galería Alfil, Madrid, Spain Palacio de Bellas Artes, Havana, Cuba

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Important Works available by: Twentieth-Century European Masters; Post-War American Artists

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