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  • Publicaciones
    con el IVAM la Diputación de Alicante y el Ayuntamiento de Alicante ver mas Edición bilingüe español inglés Presentación Guerrero Colección Edificio Exposiciones Difusión Actividades Redes Weblog Publicaciones Enlaces Información Los catálogos son un complemento imprescindible de las muestras de arte En nuestro caso procuramos que además sean en sí mismos objetos artísticos con valores específicos de forma que sobre todo en las exposiciones de producción propia cuidamos la edición

    Original URL path: http://www.centroguerrero.org/index.php/Publicaciones/4/0/?&idPublicacion=42&url=%26no_cache%3D1%26tx_joseguerreroPublicaciones_pi1%5Bsort%5D%3Dnombre%26tx_joseguerreroPublicaciones_pi1%5Bpointer%5D%3D9%26amp%3Bsort%3Dnombre (2016-02-15)
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  • . . . . . - Variaciones Azules
    what came to be called biomorphic abstraction In this period his figures became simplified taking on the shapes of an oval or an arc while the background also mutated into a practically monochrome field on which signs floated From this time until the mid sixties Guerrero became a fully fledged exponent of American abstract expressionism Guerrero s spaces are constructed using flat shapes expressing his intense emotional activity on the

    Original URL path: http://www.centroguerrero.org/index.php/Variaciones_Azules/1021/0/?&L=2 (2016-02-15)
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  • 1929
    1984 1991 2000 Parents death Guerrero s father Emilio García López born in Loja and a chauffeur by profession died on January 9th 1929 The difficult situation in which the family was left forced José to leave school at the age of 14 and find work Gracia Guerrero Padial the artist s mother was to die many years later on January 12th 1976 also in Granada Photo Emilio García López

    Original URL path: http://www.centroguerrero.org/index.php/1929/48/0/?&L=2 (2016-02-15)
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  • 1930
    José first began work in a carpenter s workshop on the same street where he lived Horno de Abad Being skilful with his hands he soon moved to the business of Juan Martínez Herrera where he was employed as an apprentice wood carver and found receptive even stimulating surroundings for his abilities Some years later in 1934 he was to work in two other businesses an electrical workshop and the

    Original URL path: http://www.centroguerrero.org/index.php/1930/47/0/?&L=2 (2016-02-15)
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  • 1931
    to attend evening classes at the Arts and Crafts School This was where his artistic vocation truly came alive particularly under the influence of the History of Art classes taught by Ricardo Agrasot as well as his friendship with Bernardo Olmedo another pupil at the school During his early youth then between the ages of 17 and 20 Guerrero combined his work at the carpenter s shop with his classes

    Original URL path: http://www.centroguerrero.org/index.php/1931/46/0/?&L=2 (2016-02-15)
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  • 1932...1934
    Santiago Martín López was the son of the bell ringers in Granada Cathedral and he knew that three centuries before a studio had been set up in the bell tower for Alonso Cano himself He therefore arranged for it to be lent to José who in return for its use only had to ring the bells when told This allowed him to dedicate all the time he could get away

    Original URL path: http://www.centroguerrero.org/index.php/1932_1934/45/0/?&L=2 (2016-02-15)
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  • 1935
    the city s cultural life it close with his leaving under the obligation of fulfilling his military service The 1936 uprising found him stationed in Ceuta José spent the war on various battlefronts drawing panoramic views in other words open spaces This was something he would later emphasize when reminiscing about the war For him it was associated with wandering and the contradictory effects of his military duties that is

    Original URL path: http://www.centroguerrero.org/index.php/1935/44/0/?&L=2 (2016-02-15)
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  • 1939...1944
    the San Fernando Higher School of Fine Arts Here he was particularly interested by the classes of Vázquez Díaz and Lafuente Ferrari History of Art again His academic record shows five prizes and a first class honours in Drawing and Colouring and Composition On the personal side he developed friendships with Carlos Pascual de Lara Miguel Pérez Aguilera Antonio Lago and Antonio Lorenzo He found a means of earning his living by painting billboards for a cinema on the Gran Vía and he spent the summers painting in Granada From 1942 to 1946 he lived in the Casa Velázquez of Free France then on Calle Serrano thanks to its Director the Hispanist Maurice Legendre who was to be great protector as well as a friend Legendre introduced him to many people including Juana Mordó and also spoke most favourably of his to Gallego Burín in 1944 The institution he directed the Casa Velázquez gave the painter use of a studio on Calle Padre Damián which Guerrero decided to share with Antonio Lago He also had a larger studio at 6 Calle Fernanflor where he painted his larger canvasses During the se years José moved from billboard painting to teaching drawing

    Original URL path: http://www.centroguerrero.org/index.php/1939_1944/43/0/?&L=2 (2016-02-15)
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