3480 x 2964 px | 29,5 x 25,1 cm | 11,6 x 9,9 inches | 300dpi
Date de la prise de vue:
13 octobre 2015
Lieu:
Museo Internacional de Arte Contemporáneo, Castillo de San José, Arrecife, Lanzarote, Canary Islands
Informations supplémentaires:
José Guerrero ( Granada , 27 October of 1914 - Barcelona , 23 December of 1991 ) was a painter and engraver. Spanish nationalized American , part of abstract expressionism . From 1930 to 1934 he attended art classes at the Escuela de artes y oficios in Granada, and in 1940, following his friend Federico García Lorca’s advice, he moved to Madrid, where he continued his studies at the Escuela superior de bellas artes de San Fernando (now Real academia de bellas artes de San Fernando). On completing art school in 1945, Guerrero received a grant from the French government to study fresco painting for one year at the École des beaux-arts, Paris, where he experienced firsthand the works of Juan Gris, Joan Miró, and Pablo Picasso, and became particularly interested in those of Henri Matisse. The landscapes and rural scenes Guerrero painted on his return to Spain reflect Matisse’s profound influence on his work. Starting in 1946 Guerrero embraced the life of a wanderer and spent several years traveling across Europe, staying in Bern, Brussels, London, Paris, and Rome. In Rome he befriended Afro (Afro Balsadella) and his brother Mirko (Mirko Balsadella), and he met Roxanne Whittier Pollock, the American journalist he would marry in 1949. This same year, the couple moved to the United States, staying in Philadelphia first and settling in New York a year later. This move opened a new course in the artist’s work. Guerrero painted his last figurative work, a self-portrait, in 1950. Thereafter, galvanized by Abstract Expressionism, he abandoned his figurative style for abstraction. Characteristic of this new phase, simplified, biomorphic forms float in a quasi-monochromatic background. By the mid-1950s Guerrero’s style had become more gestural, expressing a deeper sense of urgency, as he loosened his brushstroke and introduced a controlled dripping technique. A selection of these new paintings appeared in an exhibition at Betty Parsons Gallery, New York, in 1954.
