Mateo Manaure

MATEO MANAURE (Uracoa, Venezuela, 1926- Caracas, Venezuela 2018).
"Curvisión Nº1", 1970.
Acrylic and wood.
Presents on the back label of the Durban Gallery (Madrid).
Signed and dated on the back.
Measurements: 100 x 100 cm; 101 x 101 cm (frame).
This work belongs to the series of the curvisiones, realized during the sixties and with which the artist reached one of the summits of his career. In the series Mateo Manaure captured his broad abstract knowledge and went a step further in the evolution of forms. In this work, Manaure, has managed to create a completely harmonious image highlighting the mastery of color and technique. It is an expressive, vitalistic and dynamic composition, in which an essentially geometric pattern is repeated. However, despite the rigidity associated with straight lines, the artist has used variations of color, thus intensifying a rhythmic perception of the piece.

Mateo Manaure began his connection with the art world since his childhood, so he decided in 1939 to become a professional, studying at the School of Fine and Applied Arts in Caracas until 1947. This training was complemented with his plastic experience in the studio of the painter Pedro Angel. During this period his painting reflected traditional themes in an experimental way, in which a young artist sought his own personality in his work. In 1947, after finishing his studies in Venezuela, he decided to move to what was then the European capital of art. Arriving in Paris, he decided to continue his academic training, but at the same time, the cultural activity of the city and the social and artistic effervescence of the moment led him to join the artistic group "Los Disidentes". An artistic group formed before Manaure's arrival and which experimented plastically with neo-figurative art, receiving influences from the abstract movement and other currents of contemporary art. They broke with figurative art. That is why Paris has been considered a turning point in the painting of Manaure whose incursion into abstraction will make him a master of it, evolved in the representation of that style. Later he returned to Venezuela where he decided to create the Taller Libre de Artes de Caracas, through which his painting received aesthetic and conceptual influences from surrealism, which was a movement that had had a great force in the Latin American continent, with such notable examples as Wilfredo Lam. In 1952, on his return to the country, he also decided to create the Cuatro Muros Gallery, partnering with Carlos Garcia Bogen. It was in the 60's when Manaure returned to the plastic language of abstract character through a conception of a lyrical and even narrative character that his previous compositions had not had. Today Manaure's works belong to important art collections, both private and public, such as the MoMA in New York.