Josep Guinovart

JOSEP GUINOVART (Barcelona, 1927 - 2007).
"Like a mouth", 1975.
Oil and charcoal on canvas.
Signed and dated in the upper right corner and on the back.
With label on the back of the Juana Mordó Gallery, Madrid.
Published in the catalog "Guinovart: art in freedom" J. Corredor-Matheos, pag. 255, num 502.
Attached certificate of the artist.
Measurements: 146,5 x 114,5 cm.

This painting by Josep Guinovart is a representative work of his abstract and organic language characteristic of the seventies. It shows rounded and sinuous shapes, which seem to flow and intertwine on a cream or beige background, leaving large areas of the canvas uncovered. These shapes, of varied colors, evoke a sensation of natural movement, almost biological or landscape-like. Some areas show transparencies and glazes, while others are worked with denser stains and textures. Guinovart combines areas of gestural painting with linear strokes of spontaneous graphics, suggesting a balance between the pictorial and the drawn. The title could allude to that blurred border between matter and emptiness, between form and space, so present in his work. Overall, the painting conveys a sense of organic fluidity and harmony between the natural and the abstract, typical of Guinovart's evolution towards a more lyrical and free abstraction at this stage.

Josep Guinovart was trained at the Escuela de Maestros Pintores, at the Escuela de Artes y Oficios and in the classes of the FAD. He exhibited individually for the first time in the Syra galleries in Barcelona in 1948. He immediately acquired a solid prestige, collaborated with Dau al Set and participated in the salons of October, Jazz and Eleven. In the fifties, thanks to a scholarship, he lived in Paris, where he became deeply acquainted with the work of Cézanne and Matisse, who, together with Miró and Gaudí, would be his most important influences. In 1955, together with Aleu, Cuixart, Muxart, Mercadé, Tàpies and Tharrats, he formed the Taüll group, which brought together the avant-garde artists of the time. Towards 1957 he began an informalist and abstract tendency, with a strong material presence both by the incorporation of various elements and objects (burnt wood, boxes, waste objects) and by the application of techniques such as collage and assemblage. From the 1960s onwards, he moved away from the informalist poetics and began to create works full of signs and gestures, which contain a strong expressive charge in the lines and colors. During the seventies he systematically used materials such as sand, earth, mud, straw or fiber cement, and in the following decade he focused on experimentation with the three-dimensional projection of his works, which took the form of the creation of environments or spatial environments such as the one entitled Contorn-extorn (1978). Guinovart has a very varied artistic production: mural paintings, sets and theatrical scenery, such as the one made for Federico García Lorca's Blood Wedding, book illustrations, poster design, tapestries and sculptures. He participated in the Biennials of São Paulo (1952 and 1957), Alexandria (1955) and Venice (1958, 1962 and 1982), and his awards include the City of Barcelona in 1981, the National Plastic Arts in 1990 and the Plastic Arts of the Generalitat in 1990. In 1994 the Guinovart Space was inaugurated in Agramunt, Lérida, a private foundation that has a permanent exhibition of the artist. He is represented in the Museums of Contemporary Art in Barcelona, Madrid and Mexico City, the Museum of Outdoor Sculpture in Santa Cruz de Tenerife, the Museo Nacional Centro de Arte Reina Sofía, the Museo de Bellas Artes in Bilbao, the Museo San Telmo in San Sebastián, the Museo Eusebio Sempere in Alicante, the Museo de Navarra in Tafalla, the Casa de las Américas in Havana, the Bocchum Museum in Germany, the Museo de Bellas Artes in Long Island, New York, and the Museo Patio Herreriano in Valladolid.