DESCRIPTION
ANTONIO SAURA (Huesca, 1930 - Cuenca, 1998)
"Crucifixion", 1983.
Mixed media on cardboard.
Label on the back of the Galerie Stadler in Paris and the transport that was made of the work for the exhibition held in Paris "XI Artistes en France" which was loaned by the Galerie Stadler.
It shows slight damage to the frame.
Signed and dated in the lower right corner.
Measurements: 70 x 100 cm; 93 x 123 cm (frame).
The theme of the Crucifixion, like the one of this piece, constitutes one of the main obsessions of Saura since the fifties and his way of approaching it -with a monstrous and aggressive character from the sexual point of view- has been interpreted as sacrilegious and blasphemous; But the painter has come out in his own defense, saying that it is not the Christ of the Catholics, nor does it respond to religious motives; it is neither irreverent nor mystical, but a man nailed absurdly to the cross, a cry of protest, the tragedy of a man alone before a threatening universe, a tragic symbol of our times, like Goya's Dog or the Crowds.
Self-taught, Antonio Saura began to paint and write in Madrid in 1947. Three years later he held his first individual exhibition at the Libros bookstore in Zaragoza, showing a series of experimental works ("Constelaciones" and "Rayogramas"), created during the long illness that kept him immobilized since 1943, for a period of five years. In 1952 he held his first exhibition in Madrid, at the Buchholz bookstore, where he exhibited his youthful, dreamlike and surrealist works.
That same year he visited Paris for the first time, settling in the city. There his work was influenced by artists such as Miró and Man Ray, and he dedicated himself to making paintings on canvas and paper of an organic nature, using various techniques. The break with the surrealist group allows him to open up to other ways of creation, where he begins to show the evolution that his work is undergoing, which moves towards an instantaneous painting of gestural strokes and reduced palette of selective character, where informalism plays the absent-mindedness between suggestive expressions of line and color. He made his debut in Paris in 1957, at the Stadler Gallery, the same year he founded the El Paso group. The following year he participates in the Venice Biennale in the company of Chillida and Tàpies, and in 1960 he receives the Guggenheim Prize in New York.
In 1963 the first retrospectives were dedicated to him, at the Stedelijk Museum in Eindhoven, the Rotterdamsche Kunstring and in the museums of Buenos Aires and Rio de Janeiro (works on paper). Saura's retrospective exhibitions are repeated throughout his career, both in Spain and in Europe and America. In 1966 he exhibits at the Institute of Contemporary Arts in London, and participates in the Biennial of Engraving "Bianco e Nero" of Lugano, obtaining the Grand Prize. The following year he settled in Paris, although he worked and spent every summer in Cuenca, a fundamental pillar of his production since his early years. In 1968 he abandoned oil painting to devote himself exclusively to works on paper.
In 1979 he was awarded a prize at the First Biennial of engraving in Heidelberg, in 1981 he was named Knight of the Order of Arts and Letters in France, and the following year he was awarded the Gold Medal of Fine Arts. He has exhibited all over the world and is represented in the most important national and international contemporary art museums, including the Neue Nationalgalierie in Berlin, the Guggenheim in Bilbao, the Museo Nacional Centro de Arte Reina Sofía, the Albright-Knox Art Gallery in Buffalo, the Guggenheim and the Metropolitan in New York, the Centre Georges Pompidou in Paris and the Tate Gallery in London.