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“Untitled” (Brooklyn Academy Of Music) 1986

Aquatint.  Signed. Serie 12/75

Julian Schnabel (1951)

Measurements: W 167 x D 6 x H 228 cm

Julian Schnabel (born October 26, 1951) is an American painter and filmmaker. In the 1980s, Schnabel received international media attention for his "plate paintings" — with broken ceramic plates set onto large-scale paintings. Since the 1990s, he has been a proponent of independent arthouse cinema. Schnabel directed Before Night Falls, which became Javier Bardem's breakthrough Academy Award-nominated role, and The Diving Bell and the Butterfly, which was nominated for four Academy Awards. For the latter, he won the Cannes Film Festival Award for Best Director and the Golden Globe Award for Best Director, as well as receiving nominations for the Academy Award for Best Director and the César Award for Best Director.

His works are exhibited in the collections of various museums throughout the world, among them the Metropolitan Museum of Art; Museum of Modern Art in New York; the Whitney Museum of American Art; the Museum of Contemporary Art (MOCA), Los Angeles; Los Angeles County Museum of Art; Reina Sofia in Madrid; Tate Modern in London and the Centre Georges Pompidou in Paris.

VAT not included

Piece from the "Learning to Fly" series

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Taxidermia 67, 2009
Acrílico sobre lienzo

César Delgado: Madrid, 1961. Pintor español.
En 1989, obtiene la Beca Artista en Residencia La Romana, República Dominicana, y en 1992, la Beca de Pintura del Ayuntamiento de Mojácar, Almería. Recibe, en 1990, el Premio Adquisición en el VII Salón de Artes Plásticas de Alcobendas, Madrid, y en 1994, el Premio Adquisición en el Concurso Nacional de Pintura Ciudad de Alcorcón. Su obra, heredera de la tradición informalista española, y próxima a los postulados de Luis Gordillo, se distingue por el uso redundante de dos claves compositivas: la repetición, y la superposición. Aislando el gesto y definiendo la articulación de los planos pictóricos, Benítez, consigue una apariencia de frialdad cercana a los procesos litográficos, desde la densidad en la aplicación del pigmento, y la sugerencia orgánica de las formas. Destacan sus exposiciones individuales en la Galería MW, Madrid (1994), y Galería Valle Quintana, Madrid (1998).

Medidas: 150 x 180 cm

VAT not included

Souvenir 44

Ed. 3/5, año 2013

Impresión digital y resina sobre dibond.

Cesar Delgado

Measurements: W 110 x H 137 cm

The work of Cesar Delgado it could be compared to a scientific laboratory in which a world of tiny creatures is observed under a microscope. Meandering, twisted shapes intertwine in the fabric, delimiting paths with traces of coagulated liquid color. Like eels hatched in a tank of water, Delgado's signs vibrate with autonomous, independent life. Earthy browns mix with pure white and crawl through the space of the painting in twisted baroque convolutions. Suddenly, horizontal bands delimit and close the scene remembering that the scientific world is that of the artist where a precise, physically defined brushstroke takes us back to the world of the cold, impersonal and sharp brushstrokes of Lichtenstein.

It is the painting for the sake of painting, the abstraction for the abstraction, the work for the work. There is no pathos. Everything exists and can therefore be examined, studied like on an anatomy table. Delgado arranges the pieces of the painting for the autopsy of art history, acts as a paleontologist who breaks the stones so that fossil shells from the Jurassic period come to light. Spiral corneas, splintered bones, segments of foliaceous sheets vibrate in these slipped paintings of his own work in which a vague memory of Kandinsky merges with a problematic pop optic.

INDIVIDUAL EXPOSITIONS

2012    “Informatismo”, Centro de Arte Tomás y Valiente, Fuenlabrada
             “Informatismo“, Space2. The Museum Gallery. Bogota Colombia

2010 . “Informatismo”, Galería Fernando Pradilla, Madrid.

2009. Art Madrid Project Room

2007. “Derivados de Pintura”, Fernando Pradilla Gallery, Madrid.

2005. "Taxidermias", Fernando Pradilla Gallery, Madrid,.

2003. Dahl Gallery of Contemporary Art, Lucerne.

2002. Les filles du Calvaire Gallery, Paris.

1999 . Gallery Ars Vivendi, Munich.

1998. Valle Quintana Gallery, Madrid.

1997. Barrio y Valle Quintana Gallery, Madrid.

1994. MW Gallery, Madrid.

1993. Sala Pradillo, Madrid.

1988. Athenaeum of Madrid.

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Loops (17), 2001

Enamel and varnish on canvas

Felicidad Moreno

Measurements: W 175 x H 265 cm

She was born in Toledo (Spain) in 1986 and she obtained one of the prizes of the II Young Art Show, organized by the Institute of Youth in Madrid. Since then she has participated in several important group exhibitions.

Her work appears in different museums and collections, such as MUSAC in León, Museo Patio Herreriano in Valladolid, LA CAIXA Contemporary Art Collection in Barcelona, Banco de España Collection in Madrid, Caja de Burgos Collection, CAB and ARTIUM Collection in Vitoria.

VAT not included
“Derriere le Viridien 8″, Rubén Rodrigo Silguero2020
Oil on canvas
(861⁄2 x 633⁄4”)

Measurements: 220 x 162 cm

“Rubén Rodrigo's work is a direct heir to the modernist tradition, understood as a process of purification of what is not substantial to the pictorial medium (that is, imitation or the literary). Starting from the division established by Lessing between artes del espacio and artes del tiempo, the critic Clement Greenberg built a sense of modernity linked to the specificity of the medium, which would be reflected in the abstract expressionists of the 1950s. These, in their search for a purely visual experience, hypothetically would be beyond the narrative, the time and, therefore, the time of life. In his rereading of that canonical modernism, Rubén Rodrigo also attends to the achievements that were devalued: for example, the symbolic intention, the stage presence, the record of time or the transcendental dimension of the image. He also works with diptychs, polyptychs or extensive series, an option with which he dislodges the apparently insurmountable imperative of the "last painting" represented, for example, by Ryman's white paintings or Reinhardt's black ones.

In his latest projects, abstract appropriation allows him to hold an interpretive exercise on various chapters of the tradition, from a humble position and open to constant discovery. Thus, El Greco is interested in looking at what constitutes his extravagant rarity, and that will be the subject of numerous historical and critical reviews, especially since Cossío's controversial monograph in 1908. Among his modern fidelities, American Abstract Expressionism and other nearby poetics are inescapable references, as is (neo) figurative painting. by Francis Bacon. "

VAT not included

"No title"

Resin on wood

Fernando de Ana

If there is an art gene, Fernando de Ana (Talavera de la Reina, 1979) and a graduate in Fine Arts, carries it with him. Since he was born he has been surrounded by oil and pencils, spatulas and turpentine. He belongs to the third generation of a saga of artists that began at the beginning of the 19th century with his great-uncle, José Pérez, painter and first director of the Cádiz Museum of Art, and continued with his father, Juan Carlos Jiménez, also a painter and Doctor. in Fine Arts.

If his ancestors delighted in light and still lifes, Fernando de Ana has also wanted to explore other more contemporary languages, working first as an illustrator - he has received several international awards - and as a cartoonist, to later soak up design and the avant-garde Dutch, a pioneer country in this field, where he combined his artistic work with that of art director for more than a decade. His work has been exhibited in Prague, Bologna, Amsterdam or London, among other cities and has been selected and awarded in different art competitions.

From that transversality of influences and from that symbiosis of classic and avant-garde references, now comes his maturity as an artist. Away from his comfort zone, the artist opts for his own language in which emotions prevail over the metallic. His way of being in the world beats in his work: human relationships marked by sex, loneliness and melancholy, anxiety as a catalyst for art, obsessions spinning in a spiral, repetition of patterns, morbid agitated with tenderness infinite, the frustrated Innocence that still breathes, moving it as a motor. Fernando de Ana's work responds to a mature creative process, built over several decades exploring different formats, where material, meaning and feeling go in the same direction. 'Forbbiden carnal', his elegant series in resin and neon, has already become an exponent by combining without complexes an apparently cold material with geometric limits with the warmth and sensuality of light, in such a way that it has achieved that both elements exchange natures.

The author undresses through this meticulous technique and tells us about his inner world, his contradictions and his fears, all crossed by Eros and Thanatos, pleasure and pain, contradiction as the very genesis of life. Each work of 'Forbbiden Carnal' shows an aspect of sentimental relationships, an instant in the relationship with the other, always complex and necessary: the arrow of first eye contact, one's own vulnerability, seduction as a totem and motor, lies and the decadent, the caress as an antidote to loneliness. Nothing better than resin, color and the symbiosis of geometry with neon to express this entire sensitive universe, which not only seeks to connect with the beauty and the terrible of the viewer, but to seduce him as well.

W 150 x D 7 x H 150

VAT not included

Resin on wood with neon

Fernando de Ana

If there is an art gene, Fernando de Ana (Talavera de la Reina, 1979) and a graduate in Fine Arts, carries it with him. Since he was born he has been surrounded by oil and pencils, spatulas and turpentine. He belongs to the third generation of a saga of artists that began at the beginning of the 19th century with his great-uncle, José Pérez, painter and first director of the Cádiz Museum of Art, and continued with his father, Juan Carlos Jiménez, also a painter and Doctor. in Fine Arts.

If his ancestors delighted in light and still lifes, Fernando de Ana has also wanted to explore other more contemporary languages, working first as an illustrator - he has received several international awards - and as a cartoonist, to later soak up design and the avant-garde Dutch, a pioneer country in this field, where he combined his artistic work with that of art director for more than a decade. His work has been exhibited in Prague, Bologna, Amsterdam or London, among other cities and has been selected and awarded in different art competitions.

From that transversality of influences and from that symbiosis of classic and avant-garde references, now comes his maturity as an artist. Away from his comfort zone, the artist opts for his own language in which emotions prevail over the metallic. His way of being in the world beats in his work: human relationships marked by sex, loneliness and melancholy, anxiety as a catalyst for art, obsessions spinning in a spiral, repetition of patterns, morbid agitated with tenderness infinite, the frustrated Innocence that still breathes, moving it as a motor. Fernando de Ana's work responds to a mature creative process, built over several decades exploring different formats, where material, meaning and feeling go in the same direction. 'Forbbiden carnal', his elegant series in resin and neon, has already become an exponent by combining without complexes an apparently cold material with geometric limits with the warmth and sensuality of light, in such a way that it has achieved that both elements exchange natures.

The author undresses through this meticulous technique and tells us about his inner world, his contradictions and his fears, all crossed by Eros and Thanatos, pleasure and pain, contradiction as the very genesis of life. Each work of 'Forbbiden Carnal' shows an aspect of sentimental relationships, an instant in the relationship with the other, always complex and necessary: the arrow of first eye contact, one's own vulnerability, seduction as a totem and motor, lies and the decadent, the caress as an antidote to loneliness. Nothing better than resin, color and the symbiosis of geometry with neon to express this entire sensitive universe, which not only seeks to connect with the beauty and the terrible of the viewer, but to seduce him as well.

Measurements: W 240 x D 150 cm

VAT not included

Obra «Situ Acciones III» de Dionisio González,  2001

Acrylic/siliconized photography

Measurements: 80 x 80 cm

VAT not included

«Sin título». 1994

Serigrafía sobre papel Velin Cube Archés

Firmada a Lápiz

Numerada VII/XV

Luis Gordillo – 1934
Pintor español nacido en Sevilla. Contemporáneo de los informalistas españoles de la década de 1950. Se podrían destacar las siguientes exposiciones, «Luis Gordillo 1965/2006»,en el Museo de arte de Zapotán en México y la retrospectiva de su obra pictórica y fotográfica que le dedicó en 2007 el Museo Nacional Centro de Arte Reina Sofía en Madrid. En 2010 fue el encargado de diseñar el cartel de la temporada taurina en la Real Maestranza de Caballería de Sevilla. En 1981 recibió el Premio Nacional de Artes Plásticas, en 1991 el Premio de Andalucía de Artes Plásticas, en 1996 la Medalla de Oro al Mérito en las Bellas Artes del Ministerio de Cultura, en 2004 la Medalla de oro del Círculo de Bellas Artes de Madrid.

Medidas:  W 121 x H 80,5 cm