École expressionniste (XX) - Éclats de paysage - NO RESERVE

Interesting work from the European school of the 20th century, developed within a language situated between abstract expressionism, lyrical abstraction and abstract landscape.

The composition seems to deliberately preserve the memory of a landscape, although it has been deeply transformed through gesture, matter and color. A wide band of yellows and ochres dominates the upper area and establishes a kind of luminous horizon, while the rest of the surface is built up through an intense accumulation of blues, purples, magentas, turquoises, reds and earth tones.

Nature ceases to be represented literally to become an essentially pictorial experience. The surface is organized by energetic brushstrokes, overlays, impastos, sgraffito and spontaneous encounters between different chromatic masses, granting matter and gesture a fundamental protagonism.

From a stylistic point of view, the work can be related to the investigations developed by lyrical abstraction, abstract expressionism and European informalism, trends that progressively replaced drawing and traditional representation with a painting based on gesture, stain, matter and the autonomy of color.

It is particularly interesting to note its conceptual proximity to Nicolas de Staël’s work, especially in the way it keeps the landscape in a border territory between figuration and abstraction. In certain stages of his production, De Staël turned landscapes and horizons into large relations of color and matter, preserving the reference to the visible world while considerably reducing its recognizable elements.

In this work we find a comparable conception in this regard: the horizontal organization still allows imagining sky, horizon and ground, but any concrete reference is practically absorbed by the chromatic masses. The execution, however, here appears much more gestural and fragmented, moving away from the more compact and geometric structures characteristic of De Staël.

Affinities with certain investigations of Hans Hofmann can also be noted, especially for the color’s capacity to generate depth, tension and movement on its own. The chromatic masses advance and retreat visually through strong contrasts between warm and cool colours, producing an extraordinarily dynamic surface.

The central zone constitutes the core of greatest pictorial intensity. Deep blues, violets, pinks, reds and turquoises are superimposed, applied with a free brushstroke that almost eliminates any contour. In front of this complexity, the large upper yellow-ochre surface provides stability and acts as a powerful light zone.

Echos of Tachisme and European Art Informel can also be observed, especially in the spontaneity of the gesture and in the importance given to the painting’s physical qualities. Within this broad context, one can recall the investigations developed by artists such as Hans Hartung, Georges Mathieu or Pierre Soulages, although these stylistic affinities do not imply a direct relation or a specific attribution.

One of the most attractive aspects of the work lies precisely in the tension between gesture and structure. Despite the apparent spontaneity of many brushstrokes, the composition maintains a very defined order through large horizontal bands that provide balance to the extraordinary variety of spots, textures and colors.

The result is a painting of great chromatic and material strength, in which the landscape seems to survive only as memory or starting point. Visible reality has been transformed into a subjective experience based on color, matter and gesture.

Due to its characteristics, the work can be cataloged within the European school of the 20th century, close to abstract expressionism, lyrical abstraction and abstract landscape, with formal affinities to some investigations on landscape, matter and color developed by figures such as Nicolas de Staël and Hans Hofmann.

The preservation state should be carefully assessed using the photographs provided, which are an integral part of the description.

The work is presented framed.

The frame is included free of charge as a gift, not attributed commercial value and not considered an integral part of the work. Any eventual damage suffered by the frame during transport cannot be a ground for complaint.

The artwork will be carefully packaged in a professional manner, using materials suitable to provide maximum protection during transport.

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