JUAN GEN OVÉ S
Cover: Divergentes I (detail)
JUAN GENOVÉS – RECENT PAINTINGS
Photo: Leonardo Villela
4-28 JUNE 2014
J U AN GE NO VÉ S R E C E N T PA I N T I N G S
Marlborough Fine Art, 6 Albemarle Street, London W1S 4BY t: +44 (0) 20 7629 5161 • e: mfa@marlboroughfineart.com • www.marlboroughfineart.com
Some paintings and graphic works are for sale. Prices on application.
JUAN GEN O VÉS
by Philip Wright
“If I had to sum up the twentieth century, I would say that it raised the greatest hopes ever conceived by humanity, and destroyed all illusions and ideals.” Yehudi Menuhin1
“Perhaps, some day, solitude will come to be properly recognised and appreciated as the teacher of personality. The Orientals have long known this. The individual who has experienced solitude will not easily become a victim of mass suggestion.” Albert Einstein2
Since his beginnings as a ‘political’ artist in the 1960’s – and he has always insisted that being ‘political’ is inseparable from the role of the individual in a society – the focus of his art has Ampliación, 1966, 80 x 130cm been on the individual and the crowd. This may seem contradictory, but he perceived in his frequently-depicted fleeing crowds the destruction of communal solidarity and the tragic condition of the solitary individual. He had more than once been among such crowds himself. He had once explained to the writer Manuel Vicent: “I am only concerned with people and the aggression they are subjected to. That is my theme. I interpret it in different ways, but basically I cannot get away from it”. Under the rule of Spain’s dictator Franco, the bravery needed to express opposition openly or to demonstrate publicly was ultimately the decision of an individual: he or she could end up in solitary confinement, as indeed he himself had once experienced. For Genovés, the ability to look deeply into oneself and to take full responsibility for one’s actions, represented a high point in an individual’s development. And art could serve, he wrote, as ‘a machine to make one think’. As a six-year old boy in Valencia at the outbreak of the Spanish Civil War in 1936, he had seen at first hand individuals shot, groups massacred, bodies in the street, the fabric of the city destroyed by bombing. Throughout the three years of the war he would see floods of refugees pour through the city which remained loyal to the elected government till the end. Under the ensuing forty years of dictatorship,
crowds for Genovés would elicit conflicting associations of coercion and rebellion, and of solidarity and individual suffering. With the rebel generals’ victory over the Republic in 1939, the mechanisms of rule by dictatorship were swiftly imposed. The techniques of regimentation, intimidation and obliteration of individuality, reinforced by propaganda, xenophobia, denunciation and ultimately punishment of deviation, had been learnt under El Preso, 1965, 116 x 116cm instruction from those generals’ allies and supporters, Fascist Italy and Nazi Germany. In deliberate imitation of the Hitler Youth and the League of German Girls, Franco’s ‘Falange Youth’ and the ‘Feminine Section’ dressed, marched and indoctrinated indiscriminately boys and girls about the Marxist-Masonic-Jewish conspiracy against traditional Catholic Spain, while the ‘Social Brigade’ (Franco’s Gestapo) hunted down, imprisoned and sometimes, under the ‘Law of (i.e. against) Fleeing’, simply executed Republicans who still resisted. For the regular organised mass demonstrations addressed by the Leader, Franco the ‘Caudillo’, shops would be ordered closed, civil servants and office workers given ‘a day off’ to turn up, and youth organisations would drum out their families. In these harangues, Franco would present the populace with the stark choice between “Franco or Communism”. No democratic alternative was offered then or in the ensuing decades so that, ironically, just as some behind the Iron Curtain were beginning to question ‘the leading role of the Communist Party’, the only alternative open to those who
opposed Franco was ‘Communism’. Many opposition figures including Genovés, like Picasso, expressed their opposition to Franco and Fascism by declaring themselves ‘Communist’ and joining the party. The West may recall the 1960’s as the period when a postCalendario universal, 1967, 200 x 200cm war generation came of age with The Beatles, The Beach Boys, Andy Warhol and the Pop Art generation, a new style of anti-establishment political satire, and much else. But not so in Spain. After a crisis year of stopping painting after the acrimonious break-up of a close-knit group of artists, the ‘Grupo Hondo’ with whom he had been intensely engaged, Genovés consciously chose to ‘become political’. This may have been in part provoked by the dictatorship’s deeply hypocritical, nationwide celebration of “Twenty-five Years of Peace” in 1964 – a peace enforced by repression, forced labour and imprisonment – and in part by that close-knit group’s ambition with its Art Brut-like work ‘to record the agony of living’ . Nevertheless the 1960’s in Spain was also the time when a new generation of Spaniards, who had known austerity and repression but had not lived through the Civil War itself, reached university, and themselves began to agitate for more freedom of expression. To express political opposition in his work, Genovés was to adopt elements of Pop Art’s techniques of seeming cool detachment, stencilcut multiplication of imagery, the appearance of monochrome, fuzzyedged photo-reportage which also signalled a rejection of Abstract Expressionism’s or Art Informel’s facture. However, his art was without any of that Western consumerist fun appeal, once defined by Richard Hamilton as “popular, transient, expendable, low cost, mass produced, young, witty, sexy, gimmicky, glamorous and Big Business”. By contrast, his matter was heartfelt, serious and politically provocative. From the time of his early studies at art college in Valencia, he had preferred to efface the personal element of the artist’s brushstroke – much prized by his teachers – in favour of anonymity. This absence would, he hoped, help the spectator more easily to understand the import of his work. Civilians in flight and unseen or, at most, shadowy figures of the forces of repression, single figures faced against a wall or shielding their faces from violence, rendered in thinned out, mostly monochrome acrylic paint, imitated the poor definition of scenes fleetingly captured by the static or moving cameras of witnesses at the scene. Outside Spain the significance of this new work would very soon be admired and understood, and the Marlborough galleries were privileged to present his first solo exhibitions outside the Hispanic world, first in London and New York in 1966, and in Rome in the following year.
Exhibitions and prizes abroad multiplied, so that the Spanish authorities were initially faced with a dilemma, which they then judiciously exploited. Along with the more senior generation of Spanish abstract artists, the ‘El Paso’ group of Eusebio Sempere, Fernando Zóbel, Gustavo Torner and others, Genovés was permitted to exhibit abroad to demonstrate that the dictatorship was, after all, open to diversity and challenge – but not inside Spain itself. An acquaintance of Tapiès once spotted that artist’s work crated by the authorities for exhibition abroad, and actually labelled ‘Publicity material for Spain’. Although Genovés was also allowed to exhibit in the few, small private galleries in Spain, apart from one modest solo exhibition permitted by oversight in the held-to-be stuffy National Library in 1965 which ‘misfired’ and was mobbed, he was not to be offered a solo exhibition in a public institution in the capital until 1983. As Franco aged, and opposition protests became more frequent in the late 1960’s, absurdly harsh prison sentences of 15 to 20 years for demonstrating or publishing criticism were once again being imposed. Sensing that his work might now attract retribution, Genovés chose to move with his family for a year and a half to London. He returned when Documento n ..., 1975, 140 x 125cm rumours began to circulate about Franco’s deteriorating health, and contributed a poster calling for amnesty for political prisoners – but not yet with success. Although the dictator died in 1975, a miraculously bloodless transition to democracy still took a few years to get underway. It is understandable that this transition might have caused a crisis for the artist, habituated to a public oppositional stance. Once freed from state oversight Spain experienced an explosion of new artistic activity and public patronage, an atmosphere of celebration and relief. It did not wish to be reminded of years of Paisaje urbano: la estación, 1983, enforced silence and repression. 125 x 140cm Genovés ceased to work for a while until – ironically – a brief but fortunately unsuccessful attempt at a military coup in 1981 emptied the streets of the capital completely for a few days, as the newly enfranchised populace hid away, fearful of a return to a military dictatorship of the right. Walking the deserted streets gave the artist the inspiration for a series of ‘Urban Landscapes’, which depicted a nightmare vision of the capital, dark and deserted, a portent of persecutions and disappearances that might threaten once again. He had begun to introduce muted colours of hope into his work of the late ‘60’s, but returned to a near-monochrome with the dictator’s re-imposition of vicious persecution in the early ‘70’s. With the coup
Puntos vitales, 1991, 180 x 122cm
defeated and democracy restored, his new engagement with real architecture as three-dimensional presence, with shadows cast and recessions excavated, gradually led him to freshly imagined, brightly lit urban landscapes seen from far above. No longer were his surfaces thinly covered with quasi tear-stained films of acrylic; random smears of oil paint which suggest the scattered debris of human presence in the landscape, foreshadow the technique of the figures-in-relief which populate the latest paintings so vividly.
The gift from his school art teacher of Maurice Denis’ writings, which contained that much-quoted admonition to “remember that a painting – before it is a battle horse, a nude model, or some anecdote – is essentially a flat surface covered with colours assembled in a certain order” had accompanied his thinking about art throughout his life. Genovés sensed no basic difference between the making of abstract or figurative art. Both needed the artist’s hand to make the marks on that flat surface, and for him all art was, by the nature of its conception, essentially abstract. Breaking away from those uniform patterns of crowd movements in his earlier work, Genovés found a new music for the eye. Against often intensely coloured backgrounds, the at times random movements of loose groups, and at other times the concentration of figures Asolapados, 2008, 150 x 180cm into narrow apertures spilling back out into open spaces, create narratives of events unknown but intriguing to the eye. Borders and punctuations are now no longer marked by those straight lines of demarcation which earlier signalled prohibitions to trespass, or served as corralling enclosures. In their place painterly eruptions of brightly coloured lines and circles remind the spectator that this bird’s eye view is but an illusion skilfully manipulated by the artist, whose viewpoint, role and emotions remain a mystery, cloaked by the seductive rhythm and movement of the scene depicted.
Pertrechos, 2008, 120 x 150cm
In his book ‘Art and Illusion’ Gombrich teased out Velasquez’ technical skill in creating an illusion for the spectator of the spinning of thread in ‘Las Hilanderas’ – an illusion which dissipates at a certain moment of approaching the canvas to examine the paint itself. It is impossible, Gombrich posited,
for the spectator to hold onto that illusion of spinning at the same time as examining the painter’s technique. In these new works, Genovés has achieved something similar with the technique for his minuscule figures. At a distance, the eye roams hither and thither, sensing the emotion of a vast crowd congregating in places, some maybe a community of friends, others making their own way, dreaming, observing or possibly searching for something unseen. Approaching the painted panel, the music of movement is lost, as the matière of the paint and the witty excrescences of each brightly coloured individual figure are revealed. In this recent phase Genovés has explored the pleasure of crowds of individuals free to roam unhindered, but just occasionally the tension returns in places where panic or persecution might break through. The crowd remains a manifestation of humanity in action, a macrocosm made up of so many individual decisions. In these works, he has touched them all, his deft use of paint giving the illusion of gestures that denote friendship, excitement, haste, isolation and much else: in short, humanity at large. Wisely, though, when after a lifetime of waiting he had witnessed Spain manage a peaceful change of government through democratic elections, in 1992 he could at last acknowledge that “the most important consideration for contemplating a painting is simply a seat”. Like many artists, he had ever been wary of the writer on art seeking to translate his work into words. Painting has its own language, forceful and provocative, soothing and seductive, but mute to speech – free from, in Leo Steinberg’s phrase ‘the meddling text’. The secret to understanding such work was recently admirably expressed by the Russian poet Olga Sedakova, ironically herself a translator of literature: “The only instrument we can use to grasp the whole is, unfortunately, intuition and not theoretical premises and statements…. the key to the whole – if it exists – is hidden in a strange place”. So sit, look, explore, enjoy.
Redes, 2010, 240 x 400cm
Quoted by Eric Hobsbawm in his book ‘Age of Extremes : The Short Twentieth Century 1914 – 1991’ First published in Great Britain by Michael Joseph 1994 1
Quoted by Peter Conrad in his book ‘Modern Times, Modern Places : Life & Art in the 20th Century’ Published in Great Britain by Thames and Hudson 1998 2
LIST O F WO R KS
Cercados, 2013
Elevador, 2013
Acrylic on canvas on board
Acrylic on canvas on board
100 x 120 cm
100 x 120 cm
Altura, 2013
Hendedura, 2013
Acrylic on board
Acrylic on canvas on board
120 x 150 cm
ø 200 cm
Encendido, 2013
Desvíos, 2014
Acrylic on canvas on board
Acrylic on canvas on board
100 x 120 cm
200 x 120 cm
Patio, 2013
Eclipses, 2013
Acrylic on board
Acrylic on canvas on board
100 x 120 cm
150 x 170 cm
Diez + Trece, 2013
Compartimientos, 2013
Acrylic on canvas on board
Acrylic on canvas on board
90 x 120 cm
120 x 150 cm
Sinprecedente, 2013
Equivalencia, 2013
Acrylic on canvas on board
Acrylic on canvas on board
150 x 180 cm
180 x 152 cm
Divergentes I, 2013
Cascada, 2013
Acrylic on board
Acrylic on canvas on board
100 x 100 cm
180 x 180 cm
Divergentes, 2013
Axial, 2013
Acrylic on board
Acrylic on canvas on board
100 x 100 cm
120 x 100cm
Cercados, 2013, Acrylic on canvas on board, 100 x 120 cm
Altura, 2013, Acrylic on board, 120 x 150 cm
Encendido, 2013, Acrylic on canvas on board, 100 x 120 cm
Patio, 2013, Acrylic on board, 100 x 120 cm
Diez + Trece, 2013, Acrylic on canvas on board, 90 x 120 cm
Sinprecedente, 2013, Acrylic on canvas on board, 150 x 180 cm
Divergentes I, 2013, Acrylic on board, 100 x 100 cm
Divergentes, 2013, Acrylic on board, 100 x 100 cm
Elevador, 2013, Acrylic on canvas on board, 100 x 120 cm
Hendedura, 2013, Acrylic on canvas on board, ø 200 cm
DesvĂos, 2014, Acrylic on canvas on board, 200 x 120 cm
Eclipses, 2013, Acrylic on canvas on board, 150 x 170 cm
Compartimientos, 2013, Acrylic on canvas on board, 120 x 150 cm
Equivalencia, 2013, Acrylic on canvas on board, 180 x 152 cm
Cascada, 2013, Acrylic on canvas on board, 180 x 180 cm
Axial, 2013, Acrylic on canvas on board, 120 x 100cm
BIOGRAPHY
1930 Born in Valencia, Spain, on 31 May Lives and works in Madrid
Solo Exhibitions 2013 Crowds. Centro del Carmen, Valencia, Spain Crowds. À cent mètres du centre du monde, Centre d’Art Contemporain, Perpignan, France 2012 Marlborough Gallery, New York, United States A Retrospective. Naples Museum of Art, Naples, Florida, United States 2011 Galería Mayoral, Barcelona, Spain 2009 Recent Paintings. Marlborough Gallery Chelsea, New York, United States Memoria. Galería Marlborough, Spain Recent Paintings. Marlborough Fine Art, London, England 2007 Recent Paintings. Marlborough Gallery, New York, United States Galería Marlborough, Madrid, Spain Museo Salvador Victoria, Rubielos de Mora, Teruel, Spain 2006 Retrospectiva. Centro de Arte Palacio Almudí, Murcia, Spain 2005 Galería Punto, Valencia, Spain Pintures, dibuixos i escultures (1994-2004). Fundación Bancaja, Valencia, Spain La mirada-grito. Zaragoza Gráfica, Saragossa, Spain Galería KUR, San Sebastián, Spain
A Coruña, Spain 2002 Galería Italia, Alicante, Spain Galería Barcelona, Spain Retrospectiva (1992-2002). Sala Antonieta Rivas Mercado, Museo de Arte Moderno, México DF Pinturas (1963-2002). Museo Provincial de Jaén; Centro Cultural Caja Granada, Granada; Centro Cultural Caja Granada, Almería, Spain 2001 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 2000 Sequências. Galería Dos Coimbras, Braga, Portugal Museo de Arte Contemporáneo Unión Fenosa, A Coruña, Spain Pinturas 1960-2000. Galería Marlborough, Madrid, Spain 1999 Secuencias (1993-98) y Sueños (1995-969). Museo de BBAA, Buenos Aires, Argentina; Travelling around Latin America: Museo Nacional de Artes Visuales, Montevideo, Uruguay; Bienal Mercosul, Porto Alegre, Brasil; Museo de Arte Contemporaneo Sofia Imber, Caracas, Venezuela; Museo de Arte Moderno, Santo Domingo, Dominican Republic
Galería Marín Galy, Málaga, Spain 1997 Secuencias 1996-97. Galería Marlborough, Madrid, Spain Secuencias. Sala Quatre Cantons, Vilafamés, Tardor Cultural 97, Castellón Centro Municipal de Cultura, Ayuntamiento de Castellón, Castellón, Spain 1996 Galería Varrón, Salamanca, Spain 1995 Galería Marlborough, Madrid, Spain Caja Sur-Gran Capitan, Córdoba, Spain Galería Barcelona, Spain 1994 Sala Pelaires, Palma de Mallorca, Balearic Islands, Spain Fundación Marcelino Botín, Santander, Spain 1993 Sala Luzán, CAI Caja de la Inmaculada, Saragossa, Spain 1992 Palacio Revillagigedo, Gijón, Asturias, Spain Instituto Valenciano Arte Moderno (I.V.A.M.), Centre Julio González,Valencia, Spain Galería Punto, Valencia, Spain 1991 Galerie Patrice Trigano, Paris, France Fundación Caixa Galicia, La Coruña, Spain Sala José María Fernández, Málaga, Spain Museo de San Telmo, San Sebastián, Spain Galería Punto, Valencia, Spain
Obra Reciente. Galería Marlborough, Madrid, Spain
Secuencias. Sala Robayera, Ayuntamieto de Miengo, Cantabria, Spain
2003 Caminos. Arte y Naturaleza, IVAM, Valencia, Spain
Silencio, Silencio 1970. Galería Marlborough, Madrid, Spain
Sueños y Secuencias. Centro Cultural Isabel de Farnesio, Aranjuez, Madrid, Spain
1998 Marlborough Gallery, New York, United States
Casa de la Cultura, Ayuntamiento de Majadahonda, Madrid, Spain
Galería Punto, Valencia, Spain
Galería El Coleccionista, Madrid, Spain
Fundación CIEC, Betanzos,
Sala García Castañón, Pamplona, Spain
1987 Galería Altxerri, San Sebastián, País
1990 Galería Barcelona, Spain 1989 Centre Municipal de Cultura, Alcoi, Alicante, Spain Galería Punto, Valencia, Spain
Vasco, Spain 1985 ARCO `85, Madrid, Stand Galería Punto and Marlborough Gallery, Madrid, Spain
Zurich, Switzerland 1974 Galería Arte-Contacto, Caracas, Venezuela
Galería Punto, Valencia, Spain
Marlborough Gallery, New York, United States
Museo de Albacete, Albacete, Spain
Galería Alcoiarts, Altea, Alicante, Spain
Galería Quintana, Bogotá, Colombia
1973 Galería Val i Trenta, Valencia, Spain
1984 Urban Landscapes. Marlborough Gallery, New York, United States
Galería Vandrés, Madrid, Spain
1983 Genovés. Sala de Exposiciones La Caixa, Valencia; Agrupación del Partido Comunista del País Valenciano y España, Benicalap, Valencia; Ayuntamiento de Buñol, Valencia; Sala Municipal d’Exposicions, Paiporta, Valencia; Casa de la Cultura, Mislata, Valencia; Sala d’Exposicions Quart de Poblet, Valencia; Sala Municipal de Exposiciones, Alaquàs, Valencia; Museo Etnológico Municipal, Valencia; Museo de Albacete, Albacete (1983-87), Spain 1982 Galería Rayuela, Madrid, Spain Museo de Arte Contemporáneo, Cáceres, Spain
Marlborough Gallery, New York, United States; Marlborough-Godard Gallery, Toronto, Canada
1958 Ateneo de San Juan, Puerto Rico 1957 Galería Alfil, Madrid, Spain Palacio de Bellas Artes, La Habana, Cuba Galería Dintel, Santander, Spain
Museums & Public Collections
Museo Boymans-van-Beuningen, Rotterdam, Netherlands
Australia Power Gallery of Contemporary Art, Sidney
1971 Genovés. Frankfurter Kunstverein, Frankfurt; Haus am Waldsee, Berlin; Württembergischer Kunstverein, Stuttgart; Stadtische Kunsthalle, Recklinghausen, Germany
Austria Museum Moderner Kunst, Vienna
Palacio de la Lonja, Zaragoza
1969 Tokyo Gallery, Tokyo, Japan
Colegio de Arquitectos, Murcia, Spain
Marlborough Galleria d`Arte, Rome, Italy
Sala de Exposiciones del Ayuntamiento de Logroño, La Rioja, Spain
1960 Ateneo de Madrid, Madrid, Spain
Museo de Arte Moderno, Bogotá, Colombia
Sala Posada del Potro, Córdoba, Spain
1981 Marlborough Gallery, New York, United States
Galería El Corsario, Ibiza, Spain
Africa Museo Internacional Arte Contemporáneo, Guinea Pretorian Art Museum South African National Gallery, Cape Town
1972 Fundación Eugenio de Mendoza, Caracas, Venezuela
1970 Silencio, Silencio. Marlborough Graphics, New York, United States; London, England
20 años de Pintura (1962-1982). Centro Cultural de la Villa de Madrid, Madrid; Salas del Ayuntamiento de Valencia, Valencia, Spain
Lisbon, Portugal
Belgium Musées Royaux des Beaux-Arts de Belgique, Brussels Brazil Museu de Arte Moderno, Río de Janeiro Canada Montreal Museum of Fine Arts
Galleria La Bussola, Turín, Italy
Chile Museo de la Solidaridad Salvador Allende, Santiago de Chile
1967 Marlborough Fine Art, London, England
Colombia Museo de Arte Moderno, Bogotá
Marlborough-Gerson Gallery, New York, United States
Cuba Museo Nacional de Bellas Artes de La Habana
1966 Museo de BBAA y Arte Moderno, Bilbao, Spain Sala San Eloy, Salamanca, Spain
England Sainsbury Centre for Visual Arts, Norwich
Galería Cuatro, Valencia, Spain
1965 Galería Relevo, Copacabana, Río de Janeiro, Brazil
Finland Taidehalle Ateneum, Helsinki
1977 Galería Arte-Contacto, Caracas, Venezuela
Sala Dirección Generales de Bellas Artes, Madrid, Spain
France Centre National d`Art Contemporain, Paris
1976 Marlborough Galerie,
1962 Galería Diario de Noticias,
Germany Nationalgalerie, Staatlische Museum zu Berlin
Galería Yerba, Murcia, Spain Galería Theo, Valencia, Spain
Neue Galerie der Stadt, Aachen Kulturministerium BademWürttemberg, Stuttgart Museum fur Moderne Kunst, Frankfurt Holland Museum Boymans-van Beuningen, Rotterdam Israel The Israel Museum, Jerusalem Italy Galeria Nazionale d`Arte Moderna, Rome Japan Museo de Arte, Nagasaky México Museo de Arte Moderno, México D.F. Museo Rufino Tamayo, D.F. Nicaragua Museo de Arte Contemporáneo, Managua Museo Itinerante Poland Muzeum Lódz Muzeum Narodowum, Wroclawiu Spain AENA, Madrid Asamblea de Madrid, Madrid Colección Amigos del Centro de Arte Reina Sofía, Madrid Colección Argentaria, Madrid Colección de Arte del Siglo XX, Alicante Colección Bancaixa, Valencia Colección La Caixa, Barcelona Colección Caixa d`Estalvis, Valencia Colección Caja Madrid, Madrid Colección Caja Murcia, Murcia Colección Generalitat Valenciana, Valencia Congreso de los Diputados, Madrid Fundación Aena, Madrid Fundación Actilibre, Madrid Fundación Caja de Granada, Granada Fundación Fesmai, Madrid Fundación Juan March, Madrid Fundación Marcelino Botín Instituto Valenciano de Arte Moderno, Valencia (IVAM) Instituto Cultural Juan Gil Albert, Alicante Museo de Bellas Artes de Álava, Álava Museo de Bellas Artes de Valencia, Valencia Museo de Arte Contemporáneo de Villafamés, Castellón
Museo del Ayuntamiento de Valencia, Valencia Museo de Cuenca, Cuenca Museo de Arte Contemporáneo de Ayllón, Segovia Museo de Arte Contemporáneo de Cáceres, Cáceres Museo de Arte Contemporáneo de Elche, Alicante Museo de Arte Contemporáneo de Vilafamés, Castellón Museo de Arte Contemporáneo Patio Herreriano, Valladolid Museo d`Art Contemporany dels Països Catalans, Banyoles, Gerona Museo de Arte Contemporáneo Unión Fenosa, A Coruña Museo Municipal, Madrid Museo Nacional Centro de Arte Reina Sofía (M.N.C.A.R.S.), Madrid Museo de Santa Cruz de Toledo, Toledo Museo Vasco de Arte Contemporáneo/ ARTIUM, Vitoria-Gasteiz Palacio de la Moncloa, Madrid Patrimonio Nacional del Estado Español, Madrid Switzerland Collezione Thyssen-Bornemisza, Castagnola United States Arkansas Art Center, MacArthur Park, Little Rock, Arkansas The Museum of Modern Art (MOMA), New York The Solomon R. Guggenheim Museum, New York Chase Manhattan Bank, New York The Art Institute of Chicago, Chicago, Illinois Hirshhorn Museum and Sculpture Garden, The Smithsonian Institution, Washington The Philips Industries Collection, Dayton, Ohio Andrew Dixon White Museum, Ithaca, Nueva York Minneapolis Institute of Arts, Minneapolis, Minnesota Worcester Art Museum, Worcester, Massachusetts Nelson-Atkins Museum of Art, Kansas City, Missouri Ohio University College of Fine Arts,
Athens, Ohio Madison Art Center, Madison, Wisconsin Venezuela Museo de Bellas Artes de Caracas
Public Works 2003 El Abrazo. Plaza de Antón Martín. Ayuntamiento de Madrid, Spain
Prizes & Awards 1966 Honorable Mention, XXXIII Venice Biennale 1967 Gold Medal, VI Biennale Internazionale of San Marino 1968 Marzotto Internazionale Prize 1984 National Prize of Fine Arts, Spain 1999 Invited artist to Premios Vadepeñas 2000. Centro Cultural Cecilio Miñoz Fillol, Valdepeñas, Ciudad Real, Spain Premi de les Arts Plàstiques de la Generalitat Valenciana, Spain 2005 Gold Medal of Merit in the Fine Arts Importante Prize, May 2005, Levante-EMV, Spain 2010 Premi Octubre a Personalitats. Centre de Cultura Contempoánia, Valencia, Spain 2011 AECA Prize (Asociación Española de Críticos de Arte) for the best work presented by a living artist, Madrid, Spain 2012 XIV Prize Julián Besteiro for Artes y las Letras, from Comisión Confederal de la UGT, Escuela Julián Besterio and Instituto de Formación y Estudios Sociales, Madrid, Spain Appointed Hijo Predilecto de la Ciudad de Valencia, Ayuntamiento de Valencia, Spain Premios de la Cultura, Comunidad de Madrid, Spain 2013 XII Premis Turia, Valencia, Spain
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Madrid
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Cover: Divergentes I (detail)
Marlborough Fine Art would like to express their gratitude to the artist's daughter, Ana, for her help in the preparation of the introductory text
Design: Shine Design, London Print: Impress Print Services Ltd, Surrey, England Photography: Leonardo Villela ISBN 978-1-909707-08-5 | Catalogue no. 636 | Š 2014 Marlborough