Salvador Victoria: A painter returns, Pablo Serrano Museum

Coinciding with the commemoration of the 20th Anniversary of the death of Salvador Victoria (1925-1994), the IAACC Pablo Serrano exhibits a complete sample of the work of the Aragonese painter. The exhibition has 23 large canvases, original graphic work (drawings, collages, gouaches) and a selection of prints of different techniques together with photographs and documents from the artist’s personal archive, corresponding to Salvador Victoria’s stage of artistic maturity.

This period covers from his return to Spain in 1965, after having lived in Paris from 1956, until 1994, the year of his death. Through the narration of the artist’s creative journey, three spaces are formulated according to the evolution of his work:
Built space (1974-1980)
Suspension path (1981-1987)
Suspended space (1998-1994)

With this donation from Marie-Claire Decay, a valuable set of works by one of the protagonists of the integration of Spanish painting into the international avant-gardes of the second half of the 20th century and one of the key contemporary artists of Aragon. The exhibition also has a high symbolic value when it is held in the same space that houses and exhibits the work of Pablo Serrano, a civilian and close friend of the painter since the 1950s.

Biography
Salvador Victoria Marz (Rubielos de Mora, December 7, 1928 – Alcalá de Henares, June 27, 1994) was a Spanish abstract painter.

He was born in Rubielos de Mora (Teruel) on December 7, 1928, where he lived his childhood. Later his family moved to Valencia, entering the School of Fine Arts of San Carlos de Valencia in 1947. This School retired him in 1951 to study for a year in the Official Residence of Painters of Granada.

In 1956 he moved to live in Paris, connecting with abstract artists, becoming a fundamental stage in his training. And, there, he marries Marie Claire Decay Cartier. In 1963 he founded the “Grupo Tempo” together with Egon Nicolaus, Centry, Sam Kaner and Sornum.

In 1964 he returned to Madrid, collaborating with the artists of the Juana Mordó Gallery. In 1979 he began his activity as a teacher at the Faculty of Fine Arts of the Complutense University of Madrid. From 1980 on, he devoted himself especially to graphic work (folders such as those of “Art and Work”, that of Homage to Miguel Labordeta, that of “El Aire” in Fajardo’s Workshop, and that of “Art and Medicine”). Between 1987 and 1988, he carried out his doctoral thesis, entitled: “Spanish Informalism Outside of Spain: Vision and Personal Experience, 1955-65”; published in 2001.

He died after a sudden illness on June 27, 1994, in Alcalá de Henares (Madrid). His remains were buried in the Rubielos de Mora cemetery (Teruel). His posthumous work was in the “Taller del Val”, together with Teo Dietrich Mann and Ignacio Díez, signing a series of three engravings entitled “bat” (bon à tirer).

Exhibition
The dedication of Salvador Victoria to the graphic work constitutes you the most chapter of what to do, the least part of the work, and the least merely the companion of your works on you. Since the teachings at the Valencian School of Fine Arts in San Carlos, end of the rent, very possibly received by Ernesto Furio, Victoria’s interest in laser and graffiti have originated in the Paris media dala dec déca de los c in account, end on a The serigraphy had a great impulse since the post-world war by then very active workshops such as theWifredoArcay and Galerie Denise Rene editions.

It was not the laser and graff atom video precisely, the presentation card in the artistic or at this time and which, at the Cape, from the Cuban Arca and appr io end Eusebio Sempere, good friend-already from Paris-delos Victoria, the technique will be graphic. Semper would export to Spain laser igraffaen1960 as a real authenticity that had extra or more visibility with the work of Onil, first with Lucio Munoz, [who joined Abel Martin, in the editions of the Museum of Abstract or Spanish Art in Cuenca, from 1963. Aellohayquesumarlaconsa b Go to the publisher tradition that seems to have caught, historically from similar dates, in the Valencian Community, having to mention this activity of the Swiss Switzerland, with whom our artist also collaborated.

Painter who loves to work on paper, low voice capable of saying great things, prosecutor of the effects produced by making creases with the circle on the papers, of the super positions of card in as or of collage with cartons, Victoria was a real praiser of painting with paper, flag of our time from the cubists. Thus, for almost three decades, since 1967, Victoria would commit the first graphic works, mainly serigraphy and to the contrary, she even made up a corpus of one hundred to twenty works this long-standing technique. Lost estimates of your recorded adore will be graphic, revealed adolescent enthusiasm overflowing each new job began to, and a spirit yearned to know every day about the technique that he was up front.

Many of the editions of eleven or Victoria are organized by the carpet as the first one, “Spaces of hads”, edited by their Gallery Juana Mordo in 1969, with poe made by Jules Super vielle, put praisedesienciosyeter nida des, The following year of individual exposition at the end. Other graphic examples would include literary texts by authors such as Jose Hierro (1988) or Vaclav Have l (1990). 2. In addition, multiple editions of collages, carefully edited, should also be cited. Yes, as is the case with other gems, they produced silk papers (1500 copies patiently made) that accompanied the exhibition “Collages.Graphic Work” (DaVinci Gallery, Madrid, 1969] or the extensive print made for the Taller del Val, shown in this exhibition.

Plan painter and master of the reliefs, was Salvador Victoria creator of a very unique engraving to graphy strong water that to com panaria nsu trans picto rich course sometimes more geometric or, other to suspend， always of extra or dinar on hard.

A painter returns
This sample on board the return of step into the Aragon to Spain. Help to compose the figure of an artist who, like so many other creators of our country ： “Facing the panorama of so Did he say that he would be a young painter in conformity to it? Victoria answered in a few words, as follows…”

Between 1965 and 1994, it was almost a few years before the temporary arch of the main set of works, twenty-three great paintings by Salvador Victoria (Rubie los de Mo ra, Teruel, 1928-Alcala de Henares, Madrid, 1994) were exhibited on August ACC Pablo Serrano this 2014, with two dec ad as of his death dwelling. Along with the paintings, you can see a selection of people using graphic illustrations and on pa pet. With the sample of a painting from 1959, announces the future of dee step into， in good parted lost i enzo s appointment do sun a figure see riges invacilacion, resounding in suspension other ： that is the circle, -sometimes opening sep a so through the ace [in eas del space, beyond for those who will appear to be merger-, these were also figure-symbols of his life as a painter since, from that date on he first appointment day you have died in 1994, it would be a frequent account.

That 1965 did not become the biographical code of Salvador Victoria, if not the beginning of a very symbolic period, because it coincided with the time of his return from Paris to Madrid, he left his artist career to become the most fertile complex in the French capital.

It was also the nodes for individual, fundamental, exhibitions held in the Prado Room of the Athenaeum of Madrid and the Museum of Fine Arts of Bitbao and the beginning of its presence in the Juana Mordo gallery, as severe, a return without any more supposition It incorporates Victoria to a certain norm that its comedy in the artistic or Spanish environment, syndicated and made capital is of that time ： the opening, in 1964, of the gallery, its in Madrid, Juana Mordo, plus the meeting with menes dinas and collection ista Fernando ZobeL, who had also not begun the installation work of the Museum of Abstract Art or Spain, augured two years later, Salvador was present in Cuenca, which he had seen today, as a venue for the opening photograph.

As we show you this exhibition, it was not that time, that of the discovery at the end of the circle as a figure in the letters he would make, since the end of the count, a work in the informal context is the abstraction of that time. The stated the clarity of expressiveness, of the harmony and the comonibribor made his creation, write to Victoria coin ciding with the Albanians in 1959 ： “my painting is inside an abstract or expression is, attracted by the matter and the signs (… A poy an dome en color, which is the true meaning of the painting or the painting (…) a clear expression of diaphanous and deep (…) balance ”.

The exhibition analyzes the evolution of its work in three chapters ： Built space (1974-1980), Suspension path (1981-1987), Suspended space (1998-1994)

Pablo Serrano Museum
The Aragonese Institute of Contemporary Art and Culture (IAACC), popularly known as the Pablo Serrano Museum, is a center dedicated to modern and current art, which has as its founding repertoire a large collection of works by the Aragonese sculptor Pablo Serrano (1908 – 1985). In addition, thanks to the private collection Circa XX (attached in 2013) it has examples of Spanish and foreign artists from all over the 20th century, from Emil Nolde, Pablo Picasso and Calder to Warhol, Jean Tinguely andAnthony Caro.

It is located on Paseo María Agustín, 20 in Zaragoza, Spain. The museum is located in the old craft workshops of the provincial hospice, known as Hogar Pignatelli, which were rehabilitated by the Aragonese architect José Manuel Pérez Latorre to adapt them to their new museum function.

The need to increase the spaces of the IAACC Pablo Serrano, for the conservation of its collections and the organization of exhibitions and other activities, promoted the expansion of the building in 2005. The architectural project was drafted by José Manuel Pérez Latorre and in 2007 the works were awarded construction to Obrascón Huarte Laín. The expansion tripled the useful space, which went from 2,500 m² to more than 7,000 m² today, of which 3,000 m² is for exhibition spaces. On March 23, 2011, the new Museum inaugurated as the Aragonese Institute of Contemporary Art is inaugurated.

Inside, a wide sample of Pablo Serrano’s work is exhibited to the public. Informal sculptures from the 1950s stand out in the permanent exhibition of his work. The museum also has an important set of works by Pablo Serrano’s wife, Juana Francés, as well as a collection of contemporary graphic art and a selection of recently added painting by Santiago Lagunas.