Original Signed Lithograph

Alonso Angel Original Lithograph Signed Abstract Art Abstraction Spain

Alonso Angel Original Lithograph Signed Abstract Art Abstraction Spain

Alonso Angel Original Lithograph Signed Abstract Art Abstraction Spain   Alonso Angel Original Lithograph Signed Abstract Art Abstraction Spain

Original lithograph signed lower right. Size 69 x 51 cm. The recommended transport is offered.

Angel Alonso is a painter. French, of Spanish origin, born on. His work revolves around a reflection on color and matter. The latter will be held for almost 20 years away from the art market, thus intending to preserve the integrity of its work. He is the father of stephanie alonso, and thierry alonso engraver.

The young years: the flight of Franco's Spain and the installation in France. After a few years of self-taught training, alonso leaves Spain. Indeed, between 1938 and 1939, angel alonso was arrested at only 17 years, imprisoned and sentenced to death after the taking of bilbao by the Francoists. His family filed a petition for pardon, accepted from his young age. He returns home but a few months later, is arrested again for desertion, having not performed his military service.

He is then deported on the island of fuerteventura. It sidelines then, after a period of secrecy, wins, in 1947, the French border. He then leaves definitely the country to join Paris.

And especially nicolas de staël. These are often found in their respective works. Georges points out, first, that he regularly sees, andré lanskoy, already named, a young Spanish painter, angel alonso. In addition to these first pictorial influences, he is attracted by color and collage.

In 1950, he was threatened with extradition to the Franco region by the French authorities. A sorganise support committee, made up inter alia by Michel Leiris.

He will obtain French nationality only in 1971 thanks to the support of his father-in-law, Roger Rigaud, former Vice-President of the Paris Council. In 1952, alonso refuses to expose to the prestigious gallery jeanne bonfire by "modesty". Indeed, he believes that his young age does not allow him to claim such exposure. In 1955, he exhibited at the gallery andré schoëller, who at that time represented artists such as rebeyrolle, fautrier, messenger, duvillier, gnoli, arroyo. From this exhibition his materials become denser. From 1957-58, he painted a series of canvases inspired by the painting of the funerals at sea Sir David wilkie.

These are the years of her fraternal encounter with Maria Zambrano, the latter who will introduce him to Cioran. In 1987, he described alonso as the "last French painter". In light of these encounters, Alonso initiates his own path.

In 1952, he moved to genainvillier, near Chartres, which became, from that moment his place of reflection and research, centered mainly on color. In 1958 he worked with leaves, apples, trunks, branches obsessed with the multiple aspects of plant sensations.

He talks a lot with tal-coat, which, too, is constantly experimenting. In 1956, after living in Paris, at 49 rue de rennes, angel alonso moved to laurencie, the family estate of his wife monique rigaud, in the limousin. They will welcome many of their friends, including the poets yves de bayser. Suzane tézenas, famous patron, the man of letters and critic guy dumur. That's where qualonso begins to deepen the work on matter and landscape. The 60s and 70s: the bravado of the art market and the affirmation of a new pictorial language. From 1960 and for more than twenty years, Alonso will be practically removed from the art market. He devotes himself to painting as a spiritual requirement, always in contact with the earth and nature. These are intense years marked by a gradual return to the essential that is reflected mainly in color and materials. He begins the series of large blackboards composed of coal powder, burnt plants, straw, foliage, land that gives the painting a consistency and a unique intensity. Simultaneously he creates other works on wood, cardboard or paper where he continues his work of research and reflection on color. One morning early, almost at dawn, Alonso was awakened by the smell of smoke from the burned fields.

He goes to the gate of the chapel farm and sees that the fire is moving towards the house. At first he gets scared, then realizing that these are just field work, he still enjoys the show. When the fire is extinguished, it is the absolute vision: the black earth, like a carpet, he had never seen anything so beautiful of his life. He thinks, and he begins to walk through the black fields and pile up burned grass and charcoal. He takes bags and puts in ashes without touching them.

This is how everything started for Alonso. This is the initial period, around 1963, of great coals and large spaces of mud or scorched earth, where all the possibilities of the black color shine, vibrate, from dry to damp, from the brightest to the densest darkness. The unique source of inspiration dangel alonso has always been the landscape.

He was at the center of the daily discussions that united the young stone painter tal coat, his friend, his spiritual father. They have visited the forest of lions once and for all, stopping every quarter of an hour to draw and exchange their views on how to see a landscape. Since the death of the talco coat, the sensitive universe has been polarized on the density of the fields surrounding its home of genealogies in the south. For Alonso, the land is the most beautiful landscape. So it happened to work the land itself.

Echo from these earth surfaces, the color must be an expanse, the color is landscape. We understand why alonso refuses any artifice to create depth, refuses any degradation of tone. He looks for the color as it is and not as it appears to us, a color of such a truth that it relieves the strict limits of the frame.

The 80s: the elaboration of a definitive work. From the 80s, he will exhibit works at the gallery h-m (185 boulevard saint-germain in paris) which already had regular stone tal-coat.

In 1982, he returned to Paris, at the former tal-coat workshop that he put at his disposal. It will alternate long stays in genainvilliers and rue brézin. That year, he exhibited at the art book gallery. In these works, color is the landscape itself.

With an exceptional mastery of materials, he does not hesitate to invent his red, green, yellow, orange ... Which spring from the porous surface of his paintings.

Between 1986 and 1989 he made several exhibitions at the barber gallery. The reds, whites and yellows extend on the canvas, interspersed with spaces, pushing the color to the very extremes of the painting. In these works he left aside the good relations and the influences of his friend tal-coat as well as the way opened by matisse.

He takes a stand for a more radical requirement that subordinates his pictorial language to an essential writing in which matter and color meet definitively. "He dominates the material and the technique with which he has endowed himself and through which he succeeds in giving body to the colors that obsess him the most. In the application of color, Alonso plays with the hardness and texture of the material; it introduces elements that refer to the landscape of genainvilliers, the work of the peasants or the gesture of the artist fixing the color on the canvas. From there, sometimes he leaves on the canvas the spatula or the little piece of wood that he used to spread the color. In 1987, juan carlos marset, intellectual and academic Spanish, close to maria zambrano, meets angel alonso on the occasion of his research on the philosopher and takes the measure of the capital importance of the work dalonso.

A major retrospective is then implemented in Spain, where the entire workshop is transported to organize it. Toward the end of the 80s, alonso was overwhelmed by serious health concerns and was forced to settle permanently rue brézin. In May 89, at the lannec hospital, he wrote the corpse beauty poem. The disaster series, exhibited in 1992 at the sapone de nice gallery, is the culmination of his latest research. He abandons his yellows, greens, lands to return to black and white as the last refuge in which he feels safe.

His latest paintings, small formats - sketches possible for a time that will never come - complete the journey of his work and his life. The brutal death dangel alonso in Paris, the. Transform the retrospective into homage in the form of an exhibition. It will take place in France, at the Cervantes Institute (Paris, 1996), and in Spain at the Fundación Marcelino Botin (Santander, August-September 1996), Circulo de Bellas Artes (Madrid, January 1997).

In 2009, the museum reina sofía (madrid) buys a large number of its works while the Spanish state receives its archives (writings, correspondence, documents), with the prospect of creating a foundation in santander. In 2013, the artsenal de dreux will be holding the exhibition at Angel Alonso, which brings together the painter's works for the first time in almost 20 years. 2014: Sept 10 - Nov 8 twenty years after the disappearance of angel alonso, the michel soskine gallery inc. (madrid-new york) pays tribute to the artist by the first exhibition in a madrid gallery of a selection of selected works of which some major.

It is in the category "art, antiquities \ art of the twentieth, contemporary \ prints, engravings". The seller is "artdac" and is located in / in paris. This item can be delivered anywhere in the world.
  1. type: engraving
  2. theme: abstract
  3. period: xxth and contemporary
  4. genre: surrealism
  5. characteristics: signed
  6. authenticity: original
  7. support: on paper

Alonso Angel Original Lithograph Signed Abstract Art Abstraction Spain   Alonso Angel Original Lithograph Signed Abstract Art Abstraction Spain