José María Yturralde (after) - Postludio / Lo tienes que ver ** NO RESERVE **

Offset cartel by José María Iturralde (*)
Edited in connection with the exhibition 'You Have to See It...' at the Juan March Foundation in 2025.
Reproduction of the work 'Postludio' created by Yturralde in 2004, which is part of the artist's collection.
Published by Fundación Juan March.
Authorized printing with copyright.

Sheet dimensions: 74.5 x 61.5 cm.
Year: 2025
Condition: Excellent (this artwork has never been framed or exhibited, always kept in a professional art folder, and therefore remains in perfect condition).

The item will be carefully handled and packaged in a reinforced cardboard box. The shipment will be certified with a tracking number.

The shipment will also include transport insurance for the final value of the artwork with full reimbursement in case of loss or damage, at no cost to the buyer.

(*) Jose Mª Yturralde was born in Cuenca in 1942. From a very young age, he took painting classes, and when he moved to Zaragoza to attend high school, he went to the School of Arts and Crafts in the afternoons. He also secured a job as a drawing assistant at an advertising company. Later, he moved to Valencia, where he enrolled at the School of Fine Arts, beginning to explore contemporary art.
He begins traveling through countries such as France and Germany, which allows him to explore the forefront of European art. When he finishes his degree in 1963, he obtains a position as an assistant professor, and in 1966 he is appointed curator of the Cuenca Abstract Museum. Also in that year, he begins studying the kinetic elements of artworks, creating pieces that incorporate kinetic-light elements. Among other things, he manages to reflect optical phenomena such as the figures of Hering or Mc Kay.
In 1967, after meeting Vicente Aguilera Cerni, he joined the Antes del Arte Group.
Alongside, among others, Eduardo Sempere, Francisco Sobrino, and Jordi Teixidor. With them, he exhibits his early impossible figures, which aim to actively engage the viewer, who must mentally reconstruct a piece that, at first glance, appears normal but, upon analysis, proves to be impossible.
Alongside his membership in the group 'Antes del Arte', in 1967 he was awarded a scholarship by the recently established Madrid Center for Computing for the seminar 'Automatic Generation of Plastic Forms', where different artists worked on creation with computers. In 1969, the first exhibition of results took place, and Yturralde participated with his Impossible Figures, perhaps being the first Spanish artist to explore this field.
Yturralde's work and activity are very rich and diverse. Thanks to a scholarship, he was able to study at the Massachusetts Institute of Technology, where he became familiar with the use of new technologies applicable to art (laser, optical fibers, natural energy sources...). In the late seventies and early eighties, he created his 'Flying Structures,' a kind of geometric kites that would be exhibited in different cities.
From the second half of the eighties onward, although he did not abandon geometry, his work lost some of its scientific content and gained a greater apparent simplicity, culminating in pieces with hardly any composition that are, in his own words, 'more than an object in itself, an element of meditation'.