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Rafael CanogarEl Herido, 1960's Spanish Avant Garde Political Screenprint Lithograph Signed 1969
1969
About the Item
The Wounded One (El Herido) from Violence (La Violencia) 1969 signed, dated and titled in pencil
Dimensions: sheet: 22 1/16 x 30 1/16" (56 x 76.4cm)
Rafael Canogar ( Toledo , 1935) is a Spanish painter, one of the leading representatives of abstract art in Spain.
Disciple of Daniel Vazquez Díaz (1948-1953), in his first works he found a way to reach the avant garde and, very soon, to study abstraction deeply.
He initially used a sculpture technique: with his hands he scratched or squeezed the paste that vibrated on flat colored backgrounds. It was a painting in which the initial gesture comes directly from the heart. At this point, Canogar embodied the best of painting material .
In 1957 he founded with other artists the EI Paso group. With artists like Luis Feito, Manolo Millares, Pablo Serrano, Manuel Rivera and Antonio Saura, he begins the Spanish avant-garde movement and continues to do so until 1960. It is influenced by Action painting. They defended, between 1957 and 1960 , an informal aesthetic and the opening of Franco Spain to the international scene. Informalism was eminently the expression of freedom, of the unique and unrepeatable, carried out with a direct and spontaneous calligraphy. Works eminently intuitive and passionate, made with the urgency that time, age and theories claimed. pieta, brothers in arms.
1974 Rafael Canogar participated along with Wolf Vostell , Edward Kienholz and other artists in Berlin in the activities of ADA - Aktionen der Avantgarde.
In 1975 he abandons this realism and during a period realizes eminently abstract works, an analysis of the painting, of the support, of the bidimensionality of the painting. But Canogar needs to invent a new iconography , recover the memory and - in a tribute to the historical avant-gardes - that he realizes through the mask, the head, the face, as a representation of the man who loses his individuality and becomes a plastic sign.
In 1982 receives the Golden Ball the National Prize of Plastic Arts . There are his works in several museums of modern art: Cuenca , Madrid, Barcelona, Turin, Rome, Caracas and Pittsburgh (Carnegie Institute), etc.
In 1984 he was included in the prestigious Various Artists with Antoni Tapies, Rufino Tamayo, Robert Motherwell, José Guerrero, Antoni Clave, Eduardo Chillida, Antonio Saura, Julio Le Parc, Rafael Canogar in the portfolio Declaracion Universal de Derechos Humanos
12 lithographs (3 with embossing, collagraph and/or varnish additions), 9 soft ground etchings (8 with aquatint, lift ground aquatint, and/or collagraph), 3 lift ground aquatints, 3 pochoirs, and 3 aquatints (1 with etching)
Member of the Board of Directors of the Círculo de Bellas Artes de Madrid
Member of the Advisory Board of the General Directorate of Fine Arts of the Ministry of Culture
Member of the Board of Directors of the National Heritage
Member of the Royal Academy of Fine Arts of San Fernando where he joined in 1998 .
- Creator:Rafael Canogar (1935, Spanish)
- Creation Year:1969
- Dimensions:Height: 22 in (55.88 cm)Width: 30 in (76.2 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:minor wear commensurate with age, please see photos.
- Gallery Location:Surfside, FL
- Reference Number:1stDibs: LU38213542392
Rafael Canogar
Rafael Canogar (Toledo, 1935), painter and engraver, is considered as one of the leading figures of Spanish Abstract Art. Between 1948 and 1953 he was a disciple of Daniel Vázquez Díaz and focused on the study of the avant-garde and evolved rapidly to an informalist abstraction. In 1957, Canogar founded with Antonio Saura, Manuel Millares, Luis Feito, Manuel Rivera, Pablo Serrano, Juana Francés, Antonio Suárez and José Ayllón the El Paso group. Between 1957 and 1960 they all defended the informalism as an expression of freedom in an attempt to enter Spain in the international framework. In 1960 he participates in the "New Spanish Painting and Sculpture" show at MOMA New York. In 1963, he starts a new stage in his life in which he gradually gets close to figuration with a rising narrative content. In works of this period we find new materials such as newspaper clippings and photographs his subjects are close to the human and the nature of objects. As the critic Vicente Aguilera says about the works of this stage: "The themes do not express opinions or reflect facts, but facts are human tragedies, are encoded images where the human, object and amount, become symbolic hierarchy". In 1971 he is awarded with the Grand Prize of the Bienal de São Paulo. After 1975 we find in his work a return to an abstraction that quickly becomes a new iconography that represents man as a plastic element through masks and faces. Notable from this period are his still lifes, city scenes and the heads of Julio González. In 1982 he was awarded the National Prize of Plastic Arts.
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