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JOSÉ LUIS ALEXANCO (Madrid, 1942)."Martial Buckle", 1985.Acrylic on canvas.Presents label of the
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Beschreibung
JOSÉ LUIS ALEXANCO (Madrid, 1942).
"Martial Buckle", 1985.
Acrylic on canvas.
Presents label of the Galería Fernando Viajande, Madrid.
It has a slightly damaged frame.
Size: 172 x 226 cm; 175 x 230 cm (frame).
In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its outline and in the colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, not limited to a composition, but going beyond it, indicating to the spectator that it is about forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.
Alexanco studied drawing and engraving with Manuel Castro Gil at the Casa de la Moneda in Madrid, and in 1960 he entered the School of Fine Arts. Between 1968 and 1974 he collaborated with other artists at the University's Calculus Centre, where he worked on sculptural generation programmes, in collaboration with the American company IBM. During this period he met the mathematician José Barbera, and together they developed the software MOUVNT, designed to generate automatic forms that would later materialise in anthropomorphic sculptures. In 1970, together with Luis de Pablo, he created the acoustic plastic show "Soledad Interrumpida", trained in Buenos Aires. In the following years he would continue to work with the same author on various projects, including the organisation of the Pamplona Encounters in 1972. In 1978 he designed the prince edition of the Spanish Constitution for the Editora Nacional, and in 1998 he presented an important retrospective exhibition at the Centre d'Art Santa Mònica in Barcelona (later at the Círculo de Bellas Artes in Madrid). A benchmark of late Francoist painting and a technological innovator, his work forms part of collections such as those of the Victoria & Albert Museum in London, The Chase Manhattan Bank in New York, MNCARS, Madrid; MACBA, Barcelona and the Fundación Juan March.
"Martial Buckle", 1985.
Acrylic on canvas.
Presents label of the Galería Fernando Viajande, Madrid.
It has a slightly damaged frame.
Size: 172 x 226 cm; 175 x 230 cm (frame).
In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its outline and in the colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, not limited to a composition, but going beyond it, indicating to the spectator that it is about forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.
Alexanco studied drawing and engraving with Manuel Castro Gil at the Casa de la Moneda in Madrid, and in 1960 he entered the School of Fine Arts. Between 1968 and 1974 he collaborated with other artists at the University's Calculus Centre, where he worked on sculptural generation programmes, in collaboration with the American company IBM. During this period he met the mathematician José Barbera, and together they developed the software MOUVNT, designed to generate automatic forms that would later materialise in anthropomorphic sculptures. In 1970, together with Luis de Pablo, he created the acoustic plastic show "Soledad Interrumpida", trained in Buenos Aires. In the following years he would continue to work with the same author on various projects, including the organisation of the Pamplona Encounters in 1972. In 1978 he designed the prince edition of the Spanish Constitution for the Editora Nacional, and in 1998 he presented an important retrospective exhibition at the Centre d'Art Santa Mònica in Barcelona (later at the Círculo de Bellas Artes in Madrid). A benchmark of late Francoist painting and a technological innovator, his work forms part of collections such as those of the Victoria & Albert Museum in London, The Chase Manhattan Bank in New York, MNCARS, Madrid; MACBA, Barcelona and the Fundación Juan March.
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JOSÉ LUIS ALEXANCO (Madrid, 1942).
"Martial Buckle", 1985.
Acrylic on canvas.
Presents label of the Galería Fernando Viajande, Madrid.
It has a slightly damaged frame.
Size: 172 x 226 cm; 175 x 230 cm (frame).
In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its outline and in the colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, not limited to a composition, but going beyond it, indicating to the spectator that it is about forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.
Alexanco studied drawing and engraving with Manuel Castro Gil at the Casa de la Moneda in Madrid, and in 1960 he entered the School of Fine Arts. Between 1968 and 1974 he collaborated with other artists at the University's Calculus Centre, where he worked on sculptural generation programmes, in collaboration with the American company IBM. During this period he met the mathematician José Barbera, and together they developed the software MOUVNT, designed to generate automatic forms that would later materialise in anthropomorphic sculptures. In 1970, together with Luis de Pablo, he created the acoustic plastic show "Soledad Interrumpida", trained in Buenos Aires. In the following years he would continue to work with the same author on various projects, including the organisation of the Pamplona Encounters in 1972. In 1978 he designed the prince edition of the Spanish Constitution for the Editora Nacional, and in 1998 he presented an important retrospective exhibition at the Centre d'Art Santa Mònica in Barcelona (later at the Círculo de Bellas Artes in Madrid). A benchmark of late Francoist painting and a technological innovator, his work forms part of collections such as those of the Victoria & Albert Museum in London, The Chase Manhattan Bank in New York, MNCARS, Madrid; MACBA, Barcelona and the Fundación Juan March.
"Martial Buckle", 1985.
Acrylic on canvas.
Presents label of the Galería Fernando Viajande, Madrid.
It has a slightly damaged frame.
Size: 172 x 226 cm; 175 x 230 cm (frame).
In this work the author uses an abstract language, based on irregular geometry, with an organic character both in its outline and in the colours. It is an open style, whose basic characteristic is the conception of the pictorial surface as a whole, as an open field, without limits and without hierarchy. Thus, as we see here, the pictorial forms are the result of a thought-out composition and experimentation, with an image of a gestural nature, not limited to a composition, but going beyond it, indicating to the spectator that it is about forms, ideas or suggestions that go beyond the boundaries of the purely pictorial.
Alexanco studied drawing and engraving with Manuel Castro Gil at the Casa de la Moneda in Madrid, and in 1960 he entered the School of Fine Arts. Between 1968 and 1974 he collaborated with other artists at the University's Calculus Centre, where he worked on sculptural generation programmes, in collaboration with the American company IBM. During this period he met the mathematician José Barbera, and together they developed the software MOUVNT, designed to generate automatic forms that would later materialise in anthropomorphic sculptures. In 1970, together with Luis de Pablo, he created the acoustic plastic show "Soledad Interrumpida", trained in Buenos Aires. In the following years he would continue to work with the same author on various projects, including the organisation of the Pamplona Encounters in 1972. In 1978 he designed the prince edition of the Spanish Constitution for the Editora Nacional, and in 1998 he presented an important retrospective exhibition at the Centre d'Art Santa Mònica in Barcelona (later at the Círculo de Bellas Artes in Madrid). A benchmark of late Francoist painting and a technological innovator, his work forms part of collections such as those of the Victoria & Albert Museum in London, The Chase Manhattan Bank in New York, MNCARS, Madrid; MACBA, Barcelona and the Fundación Juan March.
11th October - Contemporary Art
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