The painting is signed by the author on the upper part, and it is dated in 1948.
The painting is exhibited in its original frame from the same period as the painting.
The painting is in good condition
Dimensions of the painting: 46 x 54 cm
dimensions of the frame: 65 x 75 cm
Pedro de Valencia (1902-1971). Painter, draughtsman and writer. His real name was Pedro Sánchez García, but he was known by his pseudonym Pedro de Valencia. He was born in Valencia in 1902, the son of Pedro Sánchez Colomer and Nieves García Esteban.
In 1914 he enrolled at the Escuela de Bellas Artes de San Carlos, where he was José Benlliure’s student, and where he befriended the Valencian painter Genaro Lahuerta.
In 1917, at the age of fifteen, he sent two paintings to the "Manifestación de arte joven" that was being held in Madrid, and they were acquired by the director of the Sociedad de Pintores y Escultores, José Espina Capó. For some time he dedicated himself to decorating fans and retouching photographs in order to obtain some income.
In 1928 he held his first exhibition in the Sala Blava, in Valencia. Later, in 1930, he moved to Madrid to get acquainted with its artistic environment and try to make his way as a painter. He held an exhibition in the gallery "El heraldo", in Madrid in 1928 and another exhibition in the Sala Parés of Barcelona in 1929. In 1931 he settled in Barcelona, where he received numerous commissions from the Barcelona bourgeoisie. In the same year he participated in the second exhibition of the Sociedad de Artistas Ibéricos of San Sebastián. In 1932 he returned to his hometown, Valencia. In 1933 he held a solo exhibition at the Museo de Arte Moderno of Madrid, and in 1934 he obtained the scholarship Conde de Cartagena, from the Real Academia de Bellas Artes de San Fernando (Madrid) to study abroad. He spent some time in Rome, travelling through part of Italy, Austria and Switzerland and later settling in Paris in order to return to Spain in 1935.
The artist held several exhibitions at the Museo de Arte Moderno of Madrid, the Baltimore Museum and the San Francisco Museum, in California. He also participated as a guest artist in the 20th Venice Biennale. In 1936, with the artwork entitled Primavera, he obtained the third prize at the Carnegie Institute of Pittsburg International Exhibition, in the United States. He held various exhibitions in cities such as Barcelona, Madrid, Paris, Berlin (1933), Oslo (1933), Venice or Copenhagen (1932).
In 1936, with the outbreak of the Spanish Civil War, he moved away from the artistic circles -which, at the time were politicised- and he sent two watercolours about scenes of the war to the Spanish pavilion of the 1937 International Paris Exhibition. After the war, in 1939, he continued his pictorial activity, participating in the Academis breve and in the Salones de los Once, invited by the art critic Eugenio d'Ors. Pedro Sanchez died in January 1971 in the city of Valencia.
Pedro de Valencia’s works, together with those by Genaro Lahuerta, are representative of a more progressive plastic, as opposed to the “Sorollism” that was embedded in the Valencian painting of the time. His earliest works are characterized by compositions of women with children in their arms and still lifes, where he attached more importance to drawing than to light and colour. From the 1940s onwards he leaned towards landscape painting, mainly marine art, where he recreated calm environments through arbitrary and subjective use of colour. In his postwar paintings the skyscapes and the clouds are executed as homogeneous elements of light colours with an important presence of pictorial matter. At this time he cultivated a painting with Italian influences, where mothers with children, teenagers and flowers predominated among his subjects. His latest works focus on marine art and with male figures on their back, a reminder of human loneliness. He created solitary landscapes where the human presence was remarked, and his backwards figures were masculine characters plunged into sadness as they contemplate the horizon or the sea on topics such as the sailor’s solitude or the empty beaches.
Pedro Sánchez paintings are sentimental, as Adolfo de Azcárraga reflects in the chapter of his book dedicated to this painter; "Pedro is an expressionist, because his painting always comes to express the inner world of his feelings. Strictly speaking, every painting of his is a sentimental manifestation."
The cultural and artistic atmosphere that surrounded Pedro de Valencia was characterized by the permanent brainstorming of ideas and proposals that appeared in Valencia between 1931 and 1939. In those times, the most innovative artists promoted cultural centres such as the Sala Blava and Acció d'art, and also magazines such as Nova Cultura, Orto, Cuadernos de Cultura, and bodies such as the Unión de Escritores y Artistas Proletarios and the Alianza de Intelectuales por la Defensa de la Cultura, where we find artists among who stand out Josep Renau, Francisco Carreño Prieto or Rafael Pérez Contel, among others, who proposed a struggle for an aesthetic with a politically committed plastic which reflected the socio-cultural situation of the moment.
Up to that moment, the Círculo de Bellas Artes de Valencia was a space of defense of traditional art, which dominated the exhibition halls following the conservative aesthetic principles of the “Sorollista” tradition represented by artists such as José Benlliure, José Pinazo Martínez or Manuel González Martí. In 1929 the Sala Blava was created as a space to breed the discussion and knowledge of new artistic movements and as a meeting place for artists who intended to break with this traditional painting.
The first exhibition in the Sala Blava, where paintings of José Gutiérrez Solana going against the official art were exhibited, was in 1930. Later were held exhibitions where Josep Renau, Genaro Lahuerta and Pedro de Valencia participated, among others. This gallery also served to hold conferences and meetings where personalities such as Max Aub, Juan Gil Albert, Almela y Vives or Alejandro Gaos participated, all those intellectuals and artists who proposed a renewal of artistic languages. In 1932 the Saló dels Noucentistes was presented in the Ateneo de Valencia, among which Pedro de Valencia, Genaro Lahuerta and José Pinazo participated.
His paintings are among the collections of the Diputación Provincial de Valencia, Museo de Bellas Artes de Valencia, Museo Municipal de Valencia, Museo de Arte Moderno de Madrid, Real Academia de Bellas Artes of San Fernando of Madrid, Real Academia de Bellas Artes de San Carlos de Valencia, Museo de Bellas Artes de Castellón, Colección de la Fundación Bancaja de Valencia, Museo de Arte Contemporáneo de Villafamés (Castellón), Galería Estil de Valencia, Círculo de Bellas Artes de Valencia and other private collections.
- Pedro de valencia (1902 - 1971)
- Title of artwork
- Playa valenciana
- Oil on canvas
- Hand signed
- Overall in good condition
- Sold with frame
- Image size
- 46×54 cm
- Total dimensions
- 65×75×4 cm