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  • 1945
    Antonio Lago among others It was here he saw at first hand the work of the Spanish painters of the Paris School and the French avant garde and was especially impressed by Matisse He was profoundly influenced by his discovery of contemporary art He was certain that from then on he was going to create such art but that the vocation he felt could not be realised in Spain This

    Original URL path: http://www.centroguerrero.org/index.php/1945/42/0/?&L=2 (2016-02-15)
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  • 1947
    Secolo It was there he met together with some Italian painters of the time Roxane Whittier Pollock an American journalist working in Paris and then staying at the American Academy in Rome It was here that he first became fully aware of his anguish Recalling this time in conversation with Pancho Ortuño and immediately after evoking the happiness of his encounter with Roxane he said I had the first symptoms

    Original URL path: http://www.centroguerrero.org/index.php/1947/122/0/?&L=2 (2016-02-15)
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  • 1949
    then painted a series of pictures later destroyed on the theme of the underground some others called Lorquian by Juan Manuel Bonet and the first attempts at semi abstraction such as Hilandera On 25th April 1949 Guerrero married Roxane and they travelled to Spain to honeymoon and meet his mother In autumn the newly weds moved to London Roxane and José s brief stay in London was for purely practical

    Original URL path: http://www.centroguerrero.org/index.php/1949/123/0/?&L=2 (2016-02-15)
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  • 1950
    live on Morton St Greenwich Village As if to bring to a close his difficult formative years at the age of 36 José Guerrero painted a self portrait which was to be the last of his figurative pictures He then resolved to paint his first rigorously abstract works while further experimenting with new materials applied to mural painting He set up a studio on Spring St Soho and in the

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  • 1954
    later Kline He learned engraving technique with Stanley William Hayter at the prestigious Atelier 17 He also met the García Lorca family and other exiled Spanish intellectuals He also became friendly with James Johnson Sweeney the Director of the Solomon R Guggenheim Museum who showed great interest in his mural work It was through the latter s intercession that Mrs Shaw offered José the opportunity to exhibit at the Arts

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  • 1958
    was beginning to enjoy and in return for his already solidly established artistic career the Graham Foundation awarded him a prestigious grant to take part in a joint project for architects painters and philosophers to see how the city of Chicago might be remodelled other awardees were Wilfredo Lam Chillida and Mies van der Rohe However the very day he was notified of the award he was told of the death of his friend Carlos Pascual de Lara In mourning therefore he went to Chicago to find apart from the attention merited by such an ambitious programme long working days in which he forced himself to struggle on although his state of mind finally took the toll After so many years when he was finally beginning to see the fruits of all his labour his inner life collapsed and he was obliged to undergo psychoanalysis The crisis was brought about by the stress of his activity in Chicago where he was advised to see a psychiatrist and José who already knew of the benefits of such treatment from some of his colleagues accepted He put himself in the hands of Dr Richter 5th Avenue with 96th for a course that

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  • 1963
    work for a new gallery to be opened by Juana Mordó who wanted Guerrero to inaugurate it He then returned to America It was 1963 and the date was to mark a series of paintings with Spanish titles Generalife Calvario Alpujarra Sacromonte etc The following year after a collective exhibition containing some of his work the Juana Mordó gallery gave its first one man show with picture by José Guerrero

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  • 1965
    concentrate in the city the most dynamic part of the most dynamic art of the moment In Cuenca apart from Torner José became friendly with Fernando Zóbel Gerardo Rueda and Manolo Millares and met up again with Eusebio Sempere He was present at the inauguration of the Museum whose collection then contained his Barrera con Rojo and Ocre y Rojo Sombrío In 1967 Juana Mordó published his Six Engravings folder with a text written by Jorge Guillén for his painter friend During their mid 1960 s stay in Spain the Guerreros also bought a house in Nerja In the summer of 1965 they travelled to Andalusia where among other things they visited the Barranco de Víznar where José made numerous figurative notes that were later to culminate in La Brecha de Víznar a painting of utmost importance in his career and Roxane sketched a report for Life on the 30th anniversary of the death of García Lorca published on 29th August 1966 and profusely illustrated with photographs by David Lees under the title The Spain that Fed García Lorca It was just the closeness of old friends such as the García Lorcas or the Giner de los Ríos who had

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