Agueda de la Pisa

AGUEDA DE LA PISA (Palencia, 1942).
Untitled, 1986.
Mixed media on canvas.
Signed, dated and titled on the back.
Size: 103 x 161 cm, 104,5 x 162 cm (frame).
Agueda de la Pisa was born in Palencia, after the death of her father and when she was only two years old, she moved with her family to Valladolid. In Valladolid she studied drawing with Eugenio Ramos Sanz at the end of the 1950s. At the age of fourteen he already knew that his vocation was painting, something that caused some family reticence. Once he had finished high school, he moved to Madrid, where he continued his artistic studies at Eduardo Peña's academy and at the School of Arts and Crafts, in the modelling section. At that time he frequented the drawing workshops of the Círculo de Bellas Artes in Madrid. His first exhibition was in 1964, in the hall of the Caja de Ahorros Provincial de Valladolid, with works of academic theme and technique (landscapes, still lifes, portraits). The poet Francisco Pino (with whom he would have an intense artistic and human relationship) sponsored this first exhibition with a text. From the mid-1970s onwards and after having practised other styles, he definitively turned to abstraction and showed a great influence of the painters of the New York School. In 1987 he formed part of the artistic group Ruedo Ibérico, created by the painter José Caballero, which also included the visual artists Salvador Victoria, José María Iglesias, José Luis Fajardo, Luis Caruncho and Álvaro Delgado. De la Pisa was the youngest member of the group and the only woman. The theoretical contributions of José Luis Morales and the poet José Manuel Caballero Bonald, who were also members of the group, were very important in their defence of experimentalism and their rejection of the official attitude in the visual arts. Ruedo Ibérico organised several national and international exhibitions, the most important of which was held at the Centro Cultural de la Villa (Madrid) in 1991. In the 1990s he incorporated collage and acrylic into his technique (instead of oil, which he had used until then). In the mid-2000s he began to develop his works also from photographs.