Antoni Vives Fierro (1940) - Embarcadero

\Artist: Antoni Vives Fierro (1940)
Technique: Oil on canvas\Signature: Hand signed\Dimensions: 77_65_3_cm
Signed by the artist at the bottom and dated in 1969 The painting is framed The painting is in good condition Dimensions of the painting: 65 cm. Height x 54 cm Height dimensions of the frame: 77 cm height x 65 cm Height Antoni Vives Fierro was born in Barcelona in 1940 and at the age of 15 he began his artistic studies at La Llotja. After a year working in Paris he held his first solo exhibition in 1962. Two years later he made his debut in Barcelona at Sala Rovira. Since then he has held numerous exhibitions nationally and internationally and has gained undoubted recognition from critics and public. His work can be found -among other venues- at the Olympic Museum of Laussane (Switzerland) , the Queen Sofía Museum of Athens (Greece) , the Museum of Contemporary Art of Montevideo (Uruguay) , the FC Barcelona Museum or the Caixa de Pensions Foundation. ? ? Vives Fierro is a tireless seeker who reformulates, through the discipline of his craft, his interpretation of the motives that fascinate him. He is mainly known for his impressions of Barcelona life, which range from the most traditionally bourgeois environments (the busy sessions of the Lyceum, the corners of Paseo de Gracia) to street scenes, with a mixture of traditionalism and bustle (Los Encantes) . His forty years of career have taken him through multiple European settings (London, Paris, Venice) where he has renewed not only the subjects but also the treatments. From his first stylistic stances, more akin to impressionist/expressionist traditions, he has evolved towards a mixed technique where the use of collage has taken centre stage. ? ? His current New York collection, the one he presents at sala Rusiñol, owes much to the change that supposed its impact on Cuba. In Havana he discovered the colour in its purest form: he forgot the black scenes to capture an explosion of saturation and contrast. Until I started my paintings in Havana, my painting was very black. Essentially because I had painted black places. For example Barcelona is black. (Entrevista a Stylusart, 2001) . In his last New York oil paintings, although black predominates again, we remark this evolution through the contrast with reds, greens and blues. ? ? In addition, the Cuba series is a definitive bet on the incursion of images found in contemporary magazines, with multiple references that he shares with the viewer (from advertisements to logos) . He establishes an intertextual dialogue where the meaning comes not only from the work depicted, but multiplies, as in pop art, through symbols of our daily experience. The New York series accentuates this tendency of collage to the extreme of even articulating composition. The human figure is no longer painted and is represented by clippings. This feeling is reinforced when he paints with very loose, free strokes. The painted part is deliberately blurred while the most defined planes are the embedded ones. ? ? Interestingly enough, in an interview (Diari de Girona 7 March 96) , the painter demystified this change: Using other means and brightening colour becomes rather an anecdotal aspect than anything else. What counts is the inner message of the work, which -with small nuances- is still the same. Everything has to be said. In short, Vives Fierro experiments without fear, a typical characteristic of the artist who has freed himself from his impositions and has reached maturity.