Original Lithograph Signed

Alonso Angel Original Lithography Signed Abstract Art Abstraction Spain

Alonso Angel Original Lithography Signed Abstract Art Abstraction Spain

Alonso Angel Original Lithography Signed Abstract Art Abstraction Spain    Alonso Angel Original Lithography Signed Abstract Art Abstraction Spain
Original Lithograph signed at the bottom right. Size 69 x 51 cm.

Angel alonso is a painter. French, of Spanish origin, born on.

His work revolves around a reflection on colour and matter. The latter will be held for almost 20 years away from the art market, aiming to preserve the integrity of its work.

He is the father of stephanie alonso, and thierry alonso gravleur. The young years: the flight of French spagna and the installation in france. After a few years of self-taught training, alonso left Spain. Indeed, between 1938 and 1939, Angel alonso was arrested at only 17 years of age, imprisoned and sentenced to death after the take of Bilbao by the Francos.

His family filed a petition for pardon, accepted because of his young age. He returned home but a few months later, was again arrested for desertion, having not performed his military service. He was then deported to the island of Fuerteventura. After a period of hiding, he escaped to the French border in 1947. He then finally left the spain to join bets. And mostly nicolas of Staël.

The latter often find themselves in their respective works. Guy dumur in nicolas de Staël, the fight with the angel, evokes: "He [of Staël] binds himself with known people. Georges braque, first, which he regularly sees, andré lanskoy, already named, a young Spanish painter, angel alonso. In addition to these early pictorial influences, he feels attracted to color and collages.

In 1950, he was threatened by the French authorities with extradition to French Spain. A support committee is set up, among others by michel leiris. He won't obtain French nationality until 1971 thanks to the support of his father-in-law, roger rigaud, former vice-president of the betting council.

In 1952, alonso refused to expose to the prestigious jeanne gallery staked by "indecentness". Indeed, he believes that his young age does not allow him to claim such an exhibition.

In 1955, he exhibited at the andré schoëller gallery, which at that time represented artists such as rebeyrolle, obligor, messager, duvillier, gnoli, arroyo. From this exhibition its materials become denser. From 1957-58, he painted a series of paintings inspired by the painting of turnating the funeral at sea of Sir david wildie. It is the years of his fraternal encounter with maria zambrano, the same one who will present him cioran. In 1987 he qualified alonso as the "last French painter". In the light of these encounters, alonso initiates his own path. In 1952, he moved to genainvillier, near cartres, which from then on became his place of reflection and research, centered mainly on color. In 1958, he worked with leaves, apples, trunks, branches obsessed with the multiple aspects of plant sensations. He speaks a lot with tal-coat, who, too, is constantly experimenting. In 1956, after living in Paris, 49 de la rue de reinnes, Angel alonso settled in laurencia, a family property of his monoque grimaud wife, in the Limousin. They will welcome many of their friends, among them the poets yves de bayser. Suzane tezenas, famous patron, the man of letters and critic guy dumur. This is where alonso begins to deepen the work on matter and landscape. The 1960s and 1970s: the bravade in the art market and the affirmation of an unprecedented pictorial language. From 1960 onwards and for more than twenty years, alonso will remain virtually far from the art market. He devotes himself to painting as a spiritual requirement, always in contact with earth and nature. These are intense years marked by a gradual return to the essential which translates mainly into color and materials. It begins the series of large black paintings composed of coal powder, burnt plants, straw, foliage, land that give the table a unique consistency and intensity. Simultaneously he creates other works on wood, cardboard or paper where he continues his research and reflection on color. One morning very early, almost at the point of day, alonso was awakened by the smell of smoke from the burned fields. He goes up to the gate of the chapel farm and sees that the fire is moving towards the house. At first he becomes afraid, then realizing that it is only work of the fields, he remains enjoy the spectacle. When the fire is extinguished, it is the absolute vision: the black earth, like a carpet, he had never seen anything so beautiful in his life.

He thinks, and he starts to go through the blackened fields and pile up burnt grass and char-bon. He takes bags and puts ashes in them without touching them.

The forms, the plant skeleton, remained intact; the fire destroyed the bodies without decomposing their silhouette. That's how it all started for alonso. This is the initial period, around 1963, of large coals and large spaces of mud or burnt land, where all the possibilities of the black color shine, vibrate, from dry to humid, from the brightest to the densest darkness. Angel alonso's unique source of inspiration has always been the landscape. He was at the centre of the daily discussions that brought together the young stone painter Tal Coat, his friend, his spiritual father.

They have travelled through the forest of lions at times and times, stopping every quarter of an hour to draw and exchange their views on how to view a landscape. Since the death of tal coat, the sensitive universe of alonso has polarized on the vastness of the fields that surround its home of genainvilliers in the eura. For alonso, the land is the most beautiful of the landscapes.

So he came to work the land itself. Echo of these earth surfaces, the color must be an expanse, the color is landscape. So we understand why alonso refuses any artifice aimed at creating depth, refuses any degradation of tone. He seeks the colour as it is and not as it appears to us, a color of such truth that it frees itself from the strict limits of the frame. The 1980s: the development of a definitive opening.

Starting in the 1980s, he exhibited works at the gallery h-m (185 boulevard saint-germain à bets) which already regularly presented stone tal-coat. In 1982 he returned to bets, to the former tal-coat workshop which he put at his disposal. It will for a long time alternate stays in genainvilliers and rue brézin.

That year, he exhibited at the art book gallery. In this work, colour constitutes the very landscape. With an exceptional mastery of materials, he does not hesitate to invent his reds, greens, yellows, oranges... Which spring out of the porous surface of his paintings.

Between 1986 and 1989 he made several exhibitions at the barber gallery. The reds, whites and yellows spread on the canvas, marked by space interruptions, pushing the color to the very extremes of the painting. In this work he left aside the good relations and influences of his friend tal-coat as well as the road opened by matisse. He takes sides for a more radical requirement that subordinates his pictorial language to an essential writing in which matter and colour meet definitively. "He dominates the matter and the technique that he has developed himself and through which he manages to give shape to the colors that obsess him most.

In the application of color, alonso plays with the hardness and texture of the matter; it introduces elements that refer to the landscape of genainvilliers, to the work of the peasants or to the gesture of the artist fixing the color on the canvas. From there, that sometimes he leaves on the canvas the spatula or small piece of wood he used to spread the color. In 1987, juan carlos marset, Spanish intellectual and academic, close to maria zambrano, meets angel alonso during his research on the philosopher and takes the measure of the vital importance of the work of alonso. A great retrospective is then implemented in Spain, where the entire workshop of alonso is transported to organize it. In the late 1980s, alonso was overwhelmed by serious health concerns and was forced to settle permanently on rue brézin. In May 89, at the Lannec hospital, he wrote the poem beauty corpse. The series of disasters, exhibited in 1992 at the sapone gallery of nice, is the result of his latest research. He again abandoned his yellows, greens, and lands to return to black and white as the last refuge in which he felt secure. His latest paintings, small formats - possible sketches for a time that will never come - complete the journey of his work and his life. The brutal death of Angel Alonso in Paris, the. Turns the retrospective into a tribute in the form of an exhibition.

It will take place in France, at the Cervantes Institute (paris, 1996), and in Spain at the marcelino botin fundacion (santander, August-September 1996), Circulo de bellas artes (madrid, January 1997). In 2009, the reina sofía museum (madrid) buys a large number of its works while the Spanish state receives its archives (written, correspondence, documents), with the prospect of creating a foundation to santander. In 2013 the exhibition at Angel Alonso, which gathers the painter's works for the first time in almost 20 years, takes place at the artsenal deux. 2014: Sept 10 - Nov 8 20 years after Angel Alonso's disappearance, the michel Soskine gallery inc. (madrid-new york) pays tribute to the artist by the first exhibition in a madrid gallery of a selection of selected works, some of which are major.

This item is in the category "art, antiques\art of xxe, contemporary\prints, engravings". The seller is "artdac" and is located in this country: fr. This item can be shipped to the following country: whole world.
    Style: 1980 Type: engraving
  1. characteristics: signed
  2. Authenticity: original
  3. period: xxeme and contemporary
  4. genre: surrealism
  5. theme: abstract
  6. support: on paper

Alonso Angel Original Lithography Signed Abstract Art Abstraction Spain    Alonso Angel Original Lithography Signed Abstract Art Abstraction Spain