BLOW UP - ARTE e DESIGN del XX secolo
Ferrara, IT
Details
- Dimensions
- 13.78ʺW × 13.78ʺD × 78.74ʺH
- Art Subjects
- Abstract
- Period
- 1960s
- Country of Origin
- Spain
- Item Type
- Vintage, Antique or Pre-owned
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- Materials
- Iron
- Condition
- Good Condition, Original Condition Unaltered, Some Imperfections
- Color
- Black
- Condition Notes
- Excellent — This vintage piece is in near original condition. It may show minimal traces of use and/or have slight … moreExcellent — This vintage piece is in near original condition. It may show minimal traces of use and/or have slight restorations. less
- Description
-
Very rare large sculpture. Signed: a. Saura 1968 (huesca, 22 september 1930 – cuenca, 22 july 1998) made with recycled …
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Very rare large sculpture. Signed: a. Saura 1968 (huesca, 22 september 1930 – cuenca, 22 july 1998) made with recycled ferrous material. Saura made this type of sculptures for a short period. His works are present in all the most important museums in the world. We do not have authentication but for comparison, for studies on the artist's sculpture works, for quality, for original welded iron plaque with signature and date, we attribute this beautiful sculpture to antonio saura.
antonio saura atarés (huesca, 22 september 1930 – cuenca, 22 july 1998) was a spanish painter and writer, brother of the film director carlos.
biography from wikipedia
born in huesca, he spent the years between 1936 and 1939 between barcelona, valencia and madrid due to the spanish war, at the end of which he lived for another year in huesca before returning to madrid. In 1943 he contracted tuberculosis, a disease that forced him to undergo several operations and remain substantially immobilized for five years. In this period, he began to self-taught to paint and write and, having overcome his illness, he held his first exhibition with the works he had studied and painted in zaragoza in 1950, followed by another in madrid in 1952; in the meantime he had also published his first poetic work, programio.
between 1954 and 1955 he moved to paris, where he joined the surrealist group and where, in 1957, he held an exhibition at the galérie stadler.
having returned to madrid in 1957, he was one of the founders of the el paso group, of which he remained at the head until 1960, also meeting the critic michel tapié in this period. Starting from 1960 he stopped painting exclusively in black and white, moving ever closer to color and also starting to create some sculptures. In the same year he received the "guggenheim prize" in new york and in the meantime his works began to be exhibited in the main european and american museums.
starting in 1966 he made several trips to cuba, finding new inspiration for his works and where, in 1968, he participated in the cultural congress in havana. In the same year he abandoned the oil on canvas technique to dedicate himself, for a period of about ten years, to painting on paper, while in 1969 the first monograph dedicated to him was published by the publisher gustavo gili of barcelona, with text by josé ayllón .
in the last decades of his career he experimented with other artistic forms, from sculpture to stained glass (a notable crucifixion from 1965 in the church of st. Thomas in amsterdam), from graphics to wall painting, the latter technique of which in particular remains the work senza centro (1968), in the museo de la revolución in havana, and elegia (1987), in the municipal palace of huesca.
he died in cuenca in 1998.
his works are now exhibited in numerous museums worldwide, including the musée picasso in antibes, the center pompidou in paris, the städelsches kunstinstitut und städtische galerie in frankfurt am main, the national gallery and the tate modern in london, the nacional centro de arte reina sofía in madrid, the guggemheim museum and the metropolitan museum in new york. This piece is attributed to the mentioned designer/maker. It has no attribution mark and no
official proof of authenticity,
however it is well documented in design history. I take full responsibility for any authenticity
issues arising from misattribution less
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