ANTONI CLAVÉ I SANMARTà (Barcelona, 1913 - Saint Tropez, France, 2005).
"Tête au Fond Blanc", 1972.
Mixed media on marbled paper on canvas.
Signed in the lower right corner.
Enclosed certificates of authenticity issued by the artist and by Nathalie Clavé.
Measurements: 54 x 76 cm; 80,5 x 103,5 cm (frame).
Work catalogued in the Antoni Clavé Archives with the number 72 TMCMT 7.
In this work Antoni Clavé proposes an autonomous scenography in itself, which transcends painting, confusing the eye, to construct a dialogue between reality and what is painted by means of the union of colour, stain and stroke with a real object, clearly recognisable as such, which, however, is only present in the form of a trace: a crochet handkerchief. The play of illusions is reinforced by the treatment of this handkerchief print; Clavé respects its outlines, the smallest detail of its design, works it in white and highlights it over black stains that emphasise its three-dimensionality much more effectively than if it had been painted directly on the neutral tone, of a disturbing flesh colour, which occupies the background of the work.
Antoni Clavé is one of the most important figures in Spanish contemporary art. Trained at the San Jordi School of Fine Arts in Barcelona, Clavé initially devoted himself to advertising graphics, illustration and the decorative arts. In 1936 he took an active part in the Civil War, joining the Republican ranks, which led him to go into exile in France at the end of the war. That same year, 1939, he exhibited the drawings he had made on the battlefields. He settled in Paris, where he met Vuillard, Bonnard and Picasso. From this period onwards, Clavé began to develop a work marked by a different, less classical style. During this period his figures gradually lost their precision and form, giving way to the lines and a personal range of colours and textures that were to become the main features of his works from that time onwards. He was already enjoying great international prestige at the time when he began to be recognised in Spain, after his exhibition at the Sala Gaspar in Barcelona in 1956. In 1952 he made the sets for the film "Hans Christian Andersen", by Charles Vidor, and was nominated for an Oscar. In 1954 he gave up decorating to devote himself to painting. In the 1960s he painted a tribute to El Greco, and his painting at this time reveals the influences of that master, as well as those of the Baroque painters. Of particular relevance is the theme of the knight with his hand on his chest, a reference that would be repeated in Clavé's future works. This period is characterised by the definitive transition to abstraction. In the 1970s Clavé's work continued to evolve, using various techniques such as collage, and inventing new ones such as "papier froissé", the result of a chance use of aerosol on crumpled paper. In 1978, the Musée National d'Art Moderne in Paris, now the Centre Georges Pompidou, devoted a retrospective to him that made him one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title "To Don Pablo". His latest works are characterised by the recreation of textures within abstraction, with a profuse use of papier froissé. He was awarded prizes at the Hallimark in New York in 1948, at the Venice Biennial in 1954 and at the Tokyo International Biennial in 1957. In 1984 the Spanish state recognised his artistic value with the exhibition of more than one hundred of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat de Catalunya. Clavé's work can be found, among many others, in the Bilbao Fine Arts Museum, the Tate Gallery, the Modern Art Museum in Paris and Tokyo, the British Museum and the Reina Sofía Museum in Madrid.