The exhibition Junyer and Sandalinas in the Fundación Mapfre collections It brings together a set of 52 pieces by these two contemporary Catalan artists of great importance for Spanish art of the early twentieth century. The exhibition is open to the public from yesterday, Thursday until December 13, at the Mapfre Foundation Guanarteme from Las Palmas de Gran Canaria.
Both Sandalinas (Barcelona, 1903-1991) and Junyer (Barcelona, 1904-1994) are considered fundamental to understand the incorporation of Spanish artists into modernity during the decades of the twenties and thirties of the last century, said the Curator of collections of the Mapfre Foundation, Leyre Bozal, reports Efe
Two artists who, despite their quality and expertise and for various reasons, are continuously postponed and recovered by critics. And both are fundamental to understand the incorporation into modernity of Spanish artists during the twenties and thirties of the last century.
Thirty of the drawings that this collection gathers correspond to Joan Junyer, made in different techniques such as pencil, watercolor graphite, graphite ink or gouache on paper with which he represents landscapes, urban views and figures that represent true scenographies of early-century Spain .
These drawings, made during the 1920s and 1930s, show Junyer's interest in his Parisian years for the human figure, captured directly from the study of the model. Without excessive shading, in them, the line, synthetic, delimits rhythm and movement.
In his investigation of the relationship between painting and movement, the Catalan artist is particularly attracted to the wild, which he finds in the dances and traditions of Mallorca.
These drawings allow to know the artist's production during these years, and are an essential complement to his pictorial production. The 22 remaining works of the sample correspond to Joan Sandalinas.
They are pieces in which the artist uses ink, pencil, watercolor or gouache on paper, to create a mosaic of ways to understand the way they demonstrate their eclectic vision regarding the avant-garde, in addition to a clear influence of both currents of cubism as of surrealism and Italian metaphysical painting.
The drawings of the Fundación Mapfre collections are mostly made between 1924 and 1927 (there are some without dating).
Sandalinas signed and dated many of his works years after his execution, so sometimes a good part of the dates does not correspond to reality, a procedure that coincides with the Italian painter Giorgio de Chirico. The majority are everyday scenes: workers, families, men fishing, an office worker, a swimmer or a car. This constant of Sandalinas for the near, the daily and the social is the influence of his friend Antoni Costa, with whom he used to go for a walk in the slums of Barcelona.
The characters of The boy in the cap, The man of the Metro Bar or the scene of Fishermen, appear surrounded by calm, silence, inner presence.
Two themes predominate over the others: family scenes and office scenes, which are an intimate reflection of Sandalinas' life, which took place between home and work, a daily life very different from that of his contemporary artists.
Among the first you can mention Mother and son, Father and son Y The family, while examples of the latter are The office worker, Rovira in the office and its excellent Self portrait, in which he represents himself working at the table.
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