Spain, 1826 – 1894
PALAU ANTIGUITATS
MARIÀ FORTUNY MARSAL
Spain, 1838 – Italy 1874
PALAU ANTIGUITATS
Mariano Fortuny is one of the most important Spanish painters of the 19th century. He studied at the School of Fine Arts in Barcelona, at the public school of Lorenzale and later at the Chigi Academy in Rome. His trip to Morocco was a turning point in his career; the light and exoticism of the place and its people led him to take an interest in previously unknown aspects of his production. He lives between Spain, Paris and Rome. His work is characterised by the meticulousness and precision of the line, the methodical use of colour and the exhaustive study of the use of light. Despite his early death, his style and the technical virtuosity of his work define him as a great painter who influenced a whole generation of European painters.
JOSÉ CAMARÓN BORONAT
Spain, 1731 – 1803
PALAU ANTIGUITATS
Spanish painter, engraver and illustrator, he was one of the most outstanding Valencian painters of the second half of the 18th century. Coming from a family of artists, he first trained in the workshop of his father, the sculptor Nicolás Camarón; he continued his studies under the guidance of his uncle, the miniature painter Eliseu Bonanat, who taught him virtuoso detail, and then, for a brief period, with the Rococo painter Miguel Posadas.
A teacher at the Santa Bárbara Academy in Valencia, San Fernando and San Carlos in Madrid, he was a good teacher and a prolific author of all genres.
CÉSAR BARRIO
Spain, 1971
MARTÍNEZ & AVEZUELA
César Barrio lives and works in Madrid and Lisbon. He graduated in architecture from the University of Navarra in 2004 and has given courses and lectures as a guest lecturer at architecture schools in Pamplona, Zaragoza and Toledo. His latest projects include the installation Quatro paredes de água (2019), in collaboration with AC/E and Lisbon City Council, and Rituales del imaginario, the result of his stay in 2017 at the Espacio Las catedrales de Arantzazu (Fundación Arantzazu Gaur). His work is represented in the collections of the University of Navarra, University of Toledo, Caja de Ahorros de Navarra, Fundación Arantzazu Gaur, ETSAUN. Pamplona, Fulbright Association, Pazo de Montecelo Foundation, Biolty, as well as in private collections in Spain, Portugal, France, Italy, Austria, Brazil, Mexico and Peru.
MARTA BARRENECHEA
Spain, 1964
GALERÍA SILVESTRE
Marta Barrenechea invites us into her enigmatic personal universe, with the aim of abolishing the boundaries between the different artistic disciplines. What the viewer may see as meticulous and delicate thread drawings of motifs that seem to tell a story, for the artist is only a way to offer a rich and suggestive possibility of truth. With a highly singular, recognisable style, and questioning what we commonly understand as “drawing”, Barrenechea claims the beauty of art’s creativity beyond reason or the most obvious meaning.
IRENE GONZÁLEZ
Spain, 1988
GALERÍA SILVESTRE
Is cinematographic language the ultimate way to slow down time? The frames that Irene Gonzalez’s drawings capture could be lost moments of an unfinished story, insistent in its repetition. It is in that repetition where time acquires a revealing importance: light, textures, framing, lead us, through architectural and figurative references, to a visual landscape in which to stop and linger calmly.
MARTINHO COSTA
Portugal, 1977
GALERÍA SILVESTRE
Sombras Permanentes are a series of artist books that the artist began in 2019. Singular objects where a series of paintings are shown directly on their pages. The most recent, the 7th and 8th, bring together in each, a new set of 37 acrylic paintings. Images from the artist’s archive that reflect the landscapes and the world that the painter observes. Each painting takes place in a non- narrative flow, with no pretensions of telling a story. Each painted image is accompanied by a small quoted text, as if it were a legend. The artist begins the project of rewriting the notes on the cinematograph by the French film director, Robert Bresson. In this set of notes, the author offers small fragments of his thoughts on the nature of cinema and art. Notes Sur Le Cinématographe, in its original title, was published in 1975 in France and brings together writings written between 1950 and 1974. With these two new books, Martinho Costa intends to underline the influence that cinema has on his way of understanding both the painting and the image. The painting does not pretend to be at the service of the text as an illustration, but to generate new metaphorical openings, resulting from the clash of image and text.