Miquel Barceló (after) - Constelació Nº4 - Offset...

Offset lithography after Miquel Barceló (*) Reproduction of the work “Constelació Nº4” (**) , mixed media of pigments and latex on canvas created by Barceló in 1989 Printed on thick high-quality Art Fine paper (200g) Published by Museo d’Art Español Contemporani de Palma de Mallorca. Authorized printing with copyright and legal serial number. Large format. - Sheet dimensions: 68 x 68 cm - Condition: Excellent (this work has never been framed or exhibited, always kept in a professional art folder, and is therefore in perfect condition). The work will be carefully handled and packed in reinforced cardboard packaging. The shipment will be tracked with a traceable number. The shipment will also include transport insurance for the final value of the work, with full reimbursement in case of loss or damage, at no cost to the buyer. (*) Miquel Barceló’s early interest in art comes from his mother, a painter in the Mallorcan landscape tradition; his first dazzlement occurred when he traveled to Paris in 1974 and discovered the painting of Paul Klee, Jean Dubuffet, and works of art brut in general, which had a lasting impact on him. That same year he began attending drawing and modeling classes at the School of Decorative Arts in Palma de Mallorca, and shortly after he enrolled at the Sant Jordi School of Fine Arts in Barcelona, although he barely attended classes during the first months; instead, his self-taught formation was decisive: he read voraciously all kinds of works and gradually explored the paintings of Lucio Fontana, Mark Rothko, Jackson Pollock, and Willem de Kooning, among other notable artists. In 1976 he participated in happenings and protest actions of the Taller Llunàtic group, and with them held his first exhibition in Barcelona, at the Mec-Mec gallery, in 1977; the following year he exhibited in Mallorca canvases covered with paint into which he incorporated organic elements. Later he experimented with thick layers of paint on canvases subjected to the elements, to provoke spontaneous physical and chemical reactions, such as oxidation or chalking, which left the guts of the painting exposed. He would never abandon experimentation with organic materials and with forms drawn from nature. His participation in the São Paulo Biennale (1981) and in Documenta Kassel VII (1982) propelled him onto the international art scene at a young age. Major museums and galleries around the world began to demand him, and his paintings achieved an exceptionally high market value for an artist of his age. Equally rapid came important awards: in 1986 he won the National Award for Plastic Arts, and in 2003 he would receive the Prince of Asturias Award for the Arts. Barceló has spent long periods in Mali, a country whose light, like that of the Mediterranean, has left deep traces in his painting. In 1992 he secretly married in Artà to Cecile, a Dutch literature specialist. Months later, in August of that year, he became a father for the first time when his wife gave birth in Mallorca to a girl named Marcela María Celia. The couple resides in his Sa Devesa de Ferrutx studio-house (Mallorca). In 2002 he produced a memorable illustration of Dante’s Divine Comedy, and in 2007 he inaugurated an extraordinary ceramic altarpiece in the Chapel of the Blessed Sacrament of Palma Cathedral, which recreates the miracle of the loaves and fishes. In November 2008 the decoration of the dome of Room XX of the United Nations Palace in Geneva was presented to the public, named the “Human Rights and Civilizations of Peace” Hall. This work, covering 1,600 square meters and costing 20 million euros, can only be appreciated by the viewer in fragments due to its vast area; in it, the artist gave form to thousands of marine stalactites that together evoke a great universal sea. Barceló’s painting draws on Baroque painting, art brut, American abstract expressionism, Italian Arte Povera, and the works of Joan Miró and Antoni Tàpies, which he has transfigured into a formidable personal synthesis of neo-expressionist nature and boundless imagination, with a dense material presence and immense plastic richness. (**) The enormous international success achieved by Miquel Barceló is largely due to the plastic force of his paintings, the originality of his characteristic themes, and a technique based on certain resources, such as mastery of aerial perspective, from which he often offers cracked views of spaces difficult to represent and the transition from tiny scales to cosmic scales, showing both objects of immediate presence and vast places, such as the sea without concrete boundaries. In the case of Constel·lació núm. 4 (Forat blanc), a word that seems drawn from the mythical world of another Mallorcan painter, Joan Miró, we are confronted with a cosmogonical space, without limits or references to a specific place or a determined scale, in which everything seems to revolve around a large white hole, as if planets or stars formed a milky constellation around a central void. However, some tangible protuberances on the painting appear to project shadows onto the canvas that suggest dragonflies or flying insects, which would place this constellation in the scale of the tiny. But if we compare those protuberances that, like excrescences, populate the canvas with the ones that appear in La flaque, we could interpret this space as the consequence of an illusion produced by desert light, where the stones on the ground, of blinding sand, seem to have started whirling before our eyes. In this painting, the cosmic and the earthly go hand in hand.

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