Benjamín Palencia (1894-1980) - Mountain Passage 1972

En iøjnefaldende Palencia — et elektrificeret bjerglandskab, skåret i tæt impasto under en lysende, stormdreven himmel.

Benjamín Palencia (Barrax, Albacete 1894–Madrid 1980), olie på lærred, 1972.

Bjerge Passage
Olie på lærred
Underskrevet og dateret nederst til højre “1972 B. Palencia”
Lærredsstørrelse: 38 × 46 cm
Indrammet: 69 x 76 cm
Archivo Benjamín Palencia nummer 012/72.

CERTIFICATE OF AUTHENTICITY - ARCHIVO BENJAMÍN PALENCIA (RAMÓN PALENCIA DEL BURGO)
Dette værk sælges ledsaget af et ægthedscertifikat fra Archivo Benjamín Palencia, udstedt og underskrevet af Ramón Palencia del Burgo, den legale arving til Benjamín Palencia og administrator af Archivo Benjamín Palencia, der bekræfter maleriet som et originalt værk og registreret i arkivet under nr. 012/72. Certifikatet vil blive sendt til køberen sammen med maleriet.

Provenance:
Galería Theo, Madrid.

Litteratur:
Manuel García Viñó, Arte de hoy, arte del futuro, Ed. Ibérico Europea de Ediciones, 1976.

MOUSEION CURATOR NOTE:

“This painting distils landscape into pure sensation: a central massif rises against an electric sky swept with blue and rust-coloured currents. With thick, urgent brushwork and a palette that oscillates between cold luminosity and earthen heat, Palencia turns topography into a kind of inner weather—less a description of a place than a declaration of feeling, where the mountain becomes structure, memory, and pulse.”

BENJAMÍN PALENCIA AND HIS LANDSCAPE VISION:

Palencia is a cornerstone of twentieth-century Spanish modernism and is closely identified with the Escuela de Vallecas, founded as a project to renew Spanish art by returning to the land—especially the sober plains and horizons around Madrid—as a site for modern experimentation rather than academic description.

What makes Palencia essential is the way he bridges traditions: he inherits the poetic gravity of the Castilian landscape associated with the Generation of ’98, yet rebuilds it through modern languages—simplifying forms, intensifying colour, and allowing structure and sensation to carry meaning. His institutional stature is reinforced by continued scholarly and museum attention to his work and to the Vallecas context in which his landscape vision became a catalyst for broader renewal.

By the 1970s, this approach often becomes more distilled and emphatic: landscape as an inner state, rendered with fewer “facts” and more force—paint itself acting as terrain.

Palencia’s institutional standing remains firmly established: his work is held in the Museo Nacional Centro de Arte Reina Sofía, which lists over 100 works by the artist in its collections, underscoring his central place in Spain’s modern canon.

On the market Palencia continues to show consistent demand: his paintings appear regularly at leading auction houses, with sustained collector confidence.

COMPOSITION AND EXECUTION:

The composition is organised around a dominant central peak, its triangular presence anchoring the canvas like a geological monument. Surrounding ridges press in from both sides, creating a basin-like spatial tension that pulls the viewer into the mountain’s interior weight.

Palencia’s handling is emphatically painterly and impasto-rich: broad, loaded strokes model the rock face with slashing greys, deep indigos, and green-black passages, punctuated by flashes of pale mineral light. In counterpoint, the sky is built from layered bands of blues and milky whites, animated by rust and ochre streaks that read as wind, heat, or distant cloudbreak—an expressive ceiling that amplifies the mountain’s mass below.

Rather than offering a descriptive vista, the painting operates through rhythm and pressure: compressed slopes, abrupt tonal shifts, and tactile paint build a landscape that feels physical and immediate—an encounter with terrain as energy.

PROVENANCE AND LITERATURE:

Galería Theo (Madrid)—en galleria særligt forbundet med spanske moderne og postvågs kunstneriske kredse.

The painting is referenced in Manuel García Viñó’s 1976 publication Arte de hoy, arte del futuro.

NOTE:

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The frame is provided free of charge and the seller cannot accept liability for any damages to the frame.

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