Juan GenovÉs

Juan Gen ov És
Juan GenovÉs – recent paintings
Cover: Divergentes I (detail)
4-28 JUNE 2014
J u a n G en ov És
R E C E N T p a intin g s
Marlborough Fine Art, 6 Albemarle Street, London W1S 4BY
t: +44 (0) 20 7629 5161 • e: [email protected] • www.marlboroughfineart.com
Some paintings and graphic works are for sale. Prices on application.
Photo: Leonardo Villela
Juan Gen o v És
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
been on the individual
Ampliación, 1966, 80 x 130cm
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
l is t of w or k s
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
Desvíos, 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
b iog r a p h y
1930 Born in Valencia, Spain, on 31 May
Lives and works in Madrid
Solo Exhibitions
2013Crowds. Centro del Carmen,
Valencia, Spain
Crowds. À cent mètres du centre du
monde, Centre d’Art Contemporain,
Perpignan, France
2012Marlborough Gallery, New York,
United States
A Retrospective. Naples Museum of
Art, Naples, Florida, United States
2011 Galería Mayoral, Barcelona, Spain
2009Recent Paintings. Marlborough Gallery
Chelsea, New York, United States
Memoria. Galería Marlborough, Spain
Recent Paintings. Marlborough Fine
Art, London, England
2007Recent Paintings. Marlborough Gallery,
New York, United States
Galería Marlborough, Madrid, Spain
Museo Salvador Victoria, Rubielos de
Mora, Teruel, Spain
2006Retrospectiva. Centro de Arte Palacio
Almudí, Murcia, Spain
2005Galería 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
2002Galería 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
2001Galería 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
2000Sequências. Galería Dos Coimbras,
Braga, Portugal
Museo de Arte Contemporáneo
Unión Fenosa, A Coruña, Spain
Pinturas 1960-2000. Galería
Marlborough, Madrid, Spain
1999Secuencias (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
1997Secuencias 1996-97. Galería
Marlborough, Madrid, Spain
Secuencias. Sala Quatre Cantons,
Vilafamés, Tardor Cultural 97, Castellón
Centro Municipal de Cultura,
Ayuntamiento de Castellón,
Castellón, Spain
1996Galería Varrón, Salamanca, Spain
1995Galería Marlborough, Madrid, Spain
Caja Sur-Gran Capitan, Córdoba, Spain
Galería Barcelona, Spain
1994Sala Pelaires, Palma de Mallorca,
Balearic Islands, Spain
Fundación Marcelino Botín,
Santander, Spain
1993Sala Luzán, CAI Caja de la Inmaculada,
Saragossa, Spain
1992Palacio Revillagigedo, Gijón,
Asturias, Spain
Instituto Valenciano Arte
Moderno (I.V.A.M.), Centre Julio
González,Valencia, Spain
Galería Punto, Valencia, Spain
1991Galerie 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
2003Caminos. Arte y Naturaleza, IVAM,
Valencia, Spain
Silencio, Silencio 1970. Galería
Marlborough, Madrid, Spain
Sueños y Secuencias. Centro
Cultural Isabel de Farnesio,
Aranjuez, Madrid, Spain
1998Marlborough 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
1987Galería Altxerri, San Sebastián, País
1990Galería Barcelona, Spain
1989Centre Municipal de Cultura,
Alcoi, Alicante, Spain
Galería Punto, Valencia, Spain
Vasco, Spain
1985ARCO `85, Madrid, Stand Galería
Punto and Marlborough Gallery,
Madrid, Spain
Zurich, Switzerland
1974Galería 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
1973Galería Val i Trenta, Valencia, Spain
1984Urban Landscapes. Marlborough
Gallery, New York, United States
Galería Vandrés, Madrid, Spain
1983Genovés. 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
1982Galería Rayuela, Madrid, Spain
Museo de Arte Contemporáneo,
Cáceres, Spain
Marlborough Gallery, New York, United
States; Marlborough-Godard Gallery,
Toronto, Canada
1958Ateneo de San Juan, Puerto Rico
1957Galería Alfil, Madrid, Spain
Palacio de Bellas Artes,
La Habana, Cuba
Museums & Public Collections
Austria
Museum Moderner Kunst, Vienna
Marlborough Galleria d`Arte, Rome,
Italy
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
1967Marlborough 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
1966Museo de BBAA y Arte Moderno,
Bilbao, Spain
Sala San Eloy, Salamanca, Spain
England
Sainsbury Centre for Visual Arts, Norwich
Galería Cuatro, Valencia, Spain
1965Galería Relevo, Copacabana, Río de
Janeiro, Brazil
Finland
Taidehalle Ateneum, Helsinki
1977Galería Arte-Contacto,
Caracas, Venezuela
Sala Dirección Generales de Bellas
Artes, Madrid, Spain
France
Centre National d`Art Contemporain, Paris
1976Marlborough Galerie,
1962Galería Diario de Noticias,
Germany
Nationalgalerie, Staatlische Museum zu Berlin
Galería Yerba, Murcia, Spain
Galería Theo, Valencia, Spain
Israel
The Israel Museum, Jerusalem
Japan
Museo de Arte, Nagasaky
1971Genovés. Frankfurter Kunstverein,
Frankfurt; Haus am Waldsee, Berlin;
Württembergischer Kunstverein,
Stuttgart; Stadtische Kunsthalle,
Recklinghausen, Germany
Colegio de Arquitectos, Murcia, Spain
Holland
Museum Boymans-van Beuningen, Rotterdam
Italy
Galeria Nazionale d`Arte Moderna, Rome
Australia
Power Gallery of Contemporary Art, Sidney
1969Tokyo Gallery, Tokyo, Japan
Neue Galerie der Stadt, Aachen
Kulturministerium BademWürttemberg, Stuttgart
Museum fur Moderne Kunst, Frankfurt
Galería Dintel, Santander, Spain
Museo Boymans-van-Beuningen,
Rotterdam, Netherlands
Palacio de la Lonja, Zaragoza
Sala de Exposiciones del Ayuntamiento
de Logroño, La Rioja, Spain
1960Ateneo de Madrid, Madrid, Spain
Museo de Arte Moderno, Bogotá,
Colombia
Sala Posada del Potro, Córdoba, Spain
1981Marlborough 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
1972Fundación Eugenio de Mendoza,
Caracas, Venezuela
1970Silencio, 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
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
Athens, Ohio
Madison Art Center, Madison, Wisconsin
Switzerland
Collezione Thyssen-Bornemisza, Castagnola
2005Gold Medal of Merit in the Fine Arts
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,
Venezuela
Museo de Bellas Artes de Caracas
Public Works
2003El Abrazo. Plaza de Antón Martín.
Ayuntamiento de Madrid, Spain
Prizes & Awards
1966Honorable Mention, XXXIII
Venice Biennale
1967Gold Medal, VI Biennale
Internazionale of San Marino
1968Marzotto Internazionale Prize
1984National Prize of Fine Arts, Spain
1999Invited artist to Premios Vadepeñas
2000. Centro Cultural Cecilio Miñoz
Fillol, Valdepeñas, Ciudad Real, Spain
Premi de les Arts Plàstiques de la
Generalitat Valenciana, Spain
Importante Prize, May 2005,
Levante-EMV, Spain
2010Premi Octubre a Personalitats.
Centre de Cultura Contempoánia,
Valencia, Spain
2011AECA Prize (Asociación Española
de Críticos de Arte) for the best
work presented by a living artist,
Madrid, Spain
2012XIV 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
mar lbor o u gh
London
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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 | © 2014 Marlborough