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JOSÉ MANUEL CAPULETTI LILLO DEL POZO (Valladolid, 1925 - Eltville am Rhein, Germany, 1978).
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Beschreibung
JOSÉ MANUEL CAPULETTI LILLO DEL POZO (Valladolid, 1925 - Eltville am Rhein, Germany, 1978).
Untitled.
Oil on canvas.
It has slight flaws on the pictorial surface.
Signed in the lower right area. Signed on the back.
Measurements: 82 x 101 cm.
In this work the artist introduces the theme of the illusionist landscape, interpreted in a metaphysical pictorial key, far from any naturalistic intention. Capuletti explores in all his work the problem of the three-dimensional real space, as opposed to the two-dimensional illusion that limits the painting on a flat support. He achieves this through an infinite landscape, where the horizon is barely visible, due to the use of a common tonality that varies very slightly in tonal gradation. The artist presents us with an almost empty landscape, dominated by the presence in the foreground of a fantastic structure, which rises monumental like a totem, unique and unperturbed, its rigidity only attacked by some ties that are joined at the upper ends and which seem to receive the impact of a harsh and dense wind. In the last desolate plane, it gives a glimpse of the silhouettes of pyramids. The piece is heir to trends such as magical realism and metaphysical painting, as it shares elements in common with the aforementioned aesthetic movements, such as, for example, the classicist style, the realistic forms in which a dissonant element is introduced, which distances the scene from reality, and the use of this type of arid, deserted landscape.
Manuel Capuletti trained as a self-taught artist, soon arriving at a personal language of surrealist heritage, almost always featuring the human figure. He was also the author of set designs and figurines for the ballet, and portraits such as those of Arthur Rubinstein, Charles Boyer and the Duke and Duchess of Windsor. He settled in Paris in 1950 and was soon recognised by critics and the public, without neglecting his contacts in Spain with the world of theatre and flamenco. He subsequently made several trips to the United States, holding various exhibitions in New York. In 1967 he returned to Spain, and two years later he held an important exhibition of portraits of flamenco singers and dancers at the Seville Athenaeum. However, in 1976 he died unexpectedly during a trip to Germany, and was buried in the Walluf cemetery. A large part of his legacy remained in the Mairena and Alcalá collections.
Untitled.
Oil on canvas.
It has slight flaws on the pictorial surface.
Signed in the lower right area. Signed on the back.
Measurements: 82 x 101 cm.
In this work the artist introduces the theme of the illusionist landscape, interpreted in a metaphysical pictorial key, far from any naturalistic intention. Capuletti explores in all his work the problem of the three-dimensional real space, as opposed to the two-dimensional illusion that limits the painting on a flat support. He achieves this through an infinite landscape, where the horizon is barely visible, due to the use of a common tonality that varies very slightly in tonal gradation. The artist presents us with an almost empty landscape, dominated by the presence in the foreground of a fantastic structure, which rises monumental like a totem, unique and unperturbed, its rigidity only attacked by some ties that are joined at the upper ends and which seem to receive the impact of a harsh and dense wind. In the last desolate plane, it gives a glimpse of the silhouettes of pyramids. The piece is heir to trends such as magical realism and metaphysical painting, as it shares elements in common with the aforementioned aesthetic movements, such as, for example, the classicist style, the realistic forms in which a dissonant element is introduced, which distances the scene from reality, and the use of this type of arid, deserted landscape.
Manuel Capuletti trained as a self-taught artist, soon arriving at a personal language of surrealist heritage, almost always featuring the human figure. He was also the author of set designs and figurines for the ballet, and portraits such as those of Arthur Rubinstein, Charles Boyer and the Duke and Duchess of Windsor. He settled in Paris in 1950 and was soon recognised by critics and the public, without neglecting his contacts in Spain with the world of theatre and flamenco. He subsequently made several trips to the United States, holding various exhibitions in New York. In 1967 he returned to Spain, and two years later he held an important exhibition of portraits of flamenco singers and dancers at the Seville Athenaeum. However, in 1976 he died unexpectedly during a trip to Germany, and was buried in the Walluf cemetery. A large part of his legacy remained in the Mairena and Alcalá collections.
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JOSÉ MANUEL CAPULETTI LILLO DEL POZO (Valladolid, 1925 - Eltville am Rhein, Germany, 1978).
Untitled.
Oil on canvas.
It has slight flaws on the pictorial surface.
Signed in the lower right area. Signed on the back.
Measurements: 82 x 101 cm.
In this work the artist introduces the theme of the illusionist landscape, interpreted in a metaphysical pictorial key, far from any naturalistic intention. Capuletti explores in all his work the problem of the three-dimensional real space, as opposed to the two-dimensional illusion that limits the painting on a flat support. He achieves this through an infinite landscape, where the horizon is barely visible, due to the use of a common tonality that varies very slightly in tonal gradation. The artist presents us with an almost empty landscape, dominated by the presence in the foreground of a fantastic structure, which rises monumental like a totem, unique and unperturbed, its rigidity only attacked by some ties that are joined at the upper ends and which seem to receive the impact of a harsh and dense wind. In the last desolate plane, it gives a glimpse of the silhouettes of pyramids. The piece is heir to trends such as magical realism and metaphysical painting, as it shares elements in common with the aforementioned aesthetic movements, such as, for example, the classicist style, the realistic forms in which a dissonant element is introduced, which distances the scene from reality, and the use of this type of arid, deserted landscape.
Manuel Capuletti trained as a self-taught artist, soon arriving at a personal language of surrealist heritage, almost always featuring the human figure. He was also the author of set designs and figurines for the ballet, and portraits such as those of Arthur Rubinstein, Charles Boyer and the Duke and Duchess of Windsor. He settled in Paris in 1950 and was soon recognised by critics and the public, without neglecting his contacts in Spain with the world of theatre and flamenco. He subsequently made several trips to the United States, holding various exhibitions in New York. In 1967 he returned to Spain, and two years later he held an important exhibition of portraits of flamenco singers and dancers at the Seville Athenaeum. However, in 1976 he died unexpectedly during a trip to Germany, and was buried in the Walluf cemetery. A large part of his legacy remained in the Mairena and Alcalá collections.
Untitled.
Oil on canvas.
It has slight flaws on the pictorial surface.
Signed in the lower right area. Signed on the back.
Measurements: 82 x 101 cm.
In this work the artist introduces the theme of the illusionist landscape, interpreted in a metaphysical pictorial key, far from any naturalistic intention. Capuletti explores in all his work the problem of the three-dimensional real space, as opposed to the two-dimensional illusion that limits the painting on a flat support. He achieves this through an infinite landscape, where the horizon is barely visible, due to the use of a common tonality that varies very slightly in tonal gradation. The artist presents us with an almost empty landscape, dominated by the presence in the foreground of a fantastic structure, which rises monumental like a totem, unique and unperturbed, its rigidity only attacked by some ties that are joined at the upper ends and which seem to receive the impact of a harsh and dense wind. In the last desolate plane, it gives a glimpse of the silhouettes of pyramids. The piece is heir to trends such as magical realism and metaphysical painting, as it shares elements in common with the aforementioned aesthetic movements, such as, for example, the classicist style, the realistic forms in which a dissonant element is introduced, which distances the scene from reality, and the use of this type of arid, deserted landscape.
Manuel Capuletti trained as a self-taught artist, soon arriving at a personal language of surrealist heritage, almost always featuring the human figure. He was also the author of set designs and figurines for the ballet, and portraits such as those of Arthur Rubinstein, Charles Boyer and the Duke and Duchess of Windsor. He settled in Paris in 1950 and was soon recognised by critics and the public, without neglecting his contacts in Spain with the world of theatre and flamenco. He subsequently made several trips to the United States, holding various exhibitions in New York. In 1967 he returned to Spain, and two years later he held an important exhibition of portraits of flamenco singers and dancers at the Seville Athenaeum. However, in 1976 he died unexpectedly during a trip to Germany, and was buried in the Walluf cemetery. A large part of his legacy remained in the Mairena and Alcalá collections.
8th March - Contemporary Art
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Barcelona
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