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Josep Gausachs Armengol (1889-1959) - Dos retratos

2 works front and rear
32 X 25 Front
33 X 26 Rear

José Gausachs, was a Spanish artist, disciple of great masters such as Isidre Nonell and Félix Mestres Erasel. He was influenced by the Impressionists Monnet, Cezanne, Renoir, Gauguin and Van Gogh. Partner and great friend of many avant-garde artists such as Picasso, Modigliani, Marquet, Gargallo, Utrillo, Juan Gris, Dechirico, Fujita, Bracque and Marc Chagall, who called him "the Knight of Montparnasse".

He was appreciated by intellectuals of his time as Tristan Tzara who gave him great support during exile; Praised by writers like Ernest Hemingway (he even acquired one of his works) and poets like Carles Ribas, who dedicated a poem to the notable painter. During his stay in the "Luz City" he became acquainted with the Surrealists André Masson and André Breton.

In 1934, the poet Federico García Lorca described Spain as the only country in the world where death is a national spectacle, with regard to bullfights or bullfights-the oldest mass spectacle of that country-and one of the oldest in the world. However, since the beginning of that decade, that spectacle threatened to leave the bullring. Spain was a country about to be shattered and totally divided. There coexisted at the same time a modern, urban, secular, industrial nation, in dispute between prosperous socialist movements and anarchists unruly; With an older one, of immense lands and poor peasantry, suffocated by the presence of the Catholic Church, to which Pablo Picasso called the "Black Spain". The problem was, they both claimed to be the true nation and none were prepared to accept the verdict of the Spanish election.

Joseph Gausachs was not kept aloof, and so came the day he took sides.

As Gausachs left for the war, Picasso, after safeguarding the works, went to Paris. The origin of a race that is interrupted in Europe by the Spanish Civil War, another that is covered with fame and an absurd reaction.

The following year, in January, Picasso was visited in his studio to invite him to participate in the Paris Exhibition of that year in the company of other Spanish artists who would have a pavilion to express themselves against the Spanish Civil War. In April 1937, General Franco ordered the bombardment of the city of Guernica and on May 1 Picasso began painting which he would present in the exhibition under the title "Guernica".

And when the avatars of the fratricidal conflict compel Joseph Gausachs to leave the fatherland, convalescent still from the wounds received in one of so many aerial bombardments, it marches to France in the company of his son Francisco and there they were interned both in the field of Concentration of Argelès-sur-Mer, an internment camp built by the government of France on a beach in the locality of the same name, located on the Mediterranean coast of the country, to house some of the refugees who passed the border, fleeing Spain after the end of the Spanish Civil War and the victory of General Franco in 1939.

To get an idea of the drama that lived the Catalan painter, in March of that same year, the photographer Robert Capa visited the enormous field of the beach of Argelès, where they were in those moments enclosed more than 80,000 Republicans Spaniards. The description he made of it was: "... a hell on the sand, the men there survive under stores of fortune and straw huts that offer a miserable protection against sand and wind. To crown all this, there is no drinking water, but the brackish water extracted from holes dug in the sand. "

Thanks to the efforts made by several French painters through an English organization, were taken out José Gausachs and his son from the concentration camp and carried, in 1939, to a hotel in Narbonne that served as a refuge for several Spanish intellectuals to Begin their emigration to America.

Without doubt, the Dominican Republic, with the arrival of José Gausachs, on January 11, 1940, had a first-line painter, to whom Rafael Díaz Niese, general Director of Fine Arts – who had discovered a year earlier – offers him a teacher's square in the classrooms A national of fine Arts founded in 1942, then directed by the Basque sculptor Manolo Pascual, in which the Catalan artist finds fertile ground for the start of the hopeful pictorial movement that arrives to our days, and his contribution gave the result of The formation of artists evolved as: Clara Ledesma, Gilberto Hernández Ortega, Paul Giudicelli, Electo Pichardo, Domingo Liz, Ada Balcácer, Guillo Pérez, Antonio Toribio and Gaspar Mario Cruz. These were joined by José Rincón Mora, Leopoldo Pérez, Fernando Peña Defillo, Oscar de la Renta, Cándido Bidó, Elsa Núñez and Iván Tovar, among others.

Pedro Delgado Malagón, published in the magazine Rumbo an interview that made the Spanish painter Tomasín López Ramos, in which he narrated an anecdote when he, in the years 50 walking along a beach in the south of France met with the master Picasso, who letting him know Who was a disciple of Gausachs received him and invited him two glasses of wine-something unusual in Picasso-and after learning about the needs and the state of his great friend in Santo Domingo, sent him a card in which he was placed at his command for all he needed Ara and invited him to visit his studio in Paris. Pedritín account that Lopez Ramos quoted José Gausachs to the commercial Hotel located in Calle El Conde in order to give him a surprise and yet, greater was his astonishment to see how Gausachs shattered Picasso's card saying the phrase: "Now is that this Bue N... you come to remember me. "

Europe never again received back to Catalan. According to Jeannette Miller in his book "Dominican Art, Spanish artists and Modernity: José Gausachs Armengol", was, among all the Spanish artists exiled, the most important figure for the Dominican plastic. Its integration into the country was total and its teaching, decisive in the artistic generations that followed it. "Throughout the almost 20 years he lived in Santo Domingo, he becomes the great master of Dominican art. Its integration was carried out through the absorption of the ethnic, geographical and cultural elements that define the country. The blackness, as a factor of the modern art of the early century, was a condition that Gausachs worked on his paintings and drawings; Likewise, the tropical light that exceeded the mere capture of reality and became a symbol, illuminating its landscapes where the almost jungle nature and the omnipresent sea play a decisive role. "

The figure of José Gausachs has a great appeal and his memory has come to us embodied in excellent works.

Title of artwork Dos retratos
Year c.1930
Technique Oil on panel
Signature Signed
Condition In very good condition
Weight 3 kg
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