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Tpies Antoni was born in Barcelona in 1923 in a middle class family, educated and Catalan, involved since the mid-nineteenth-century publishing and book a tradition to wake up very early in the artist's love for books and reading. This predisposition is exacerbated by the long convalescence from a lung disease, during which he began his artistic scores. Tpies progressively more intensely devoted to drawing and painting, and ends up leaving his law studies to devote himself fully to his passion. In the decade of the forties and exhibits his works, which highlight the artistic panoramic view of the moment. Department participated in an awareness of involving artists from both sides of the Atlantic, the root of World War II and the launching of the pump Atmic, Antoni Tpies soon expressed an interest by matter, soil, dust, atoms and the particles, which is expressed formally in the use of materials foreign to the expression academic plastic and experimentation of new techniques. The paintings matrices form a substantial part of the work of Tpies and constitute a project that continues today desarrollndose. Tpies believes that the notion of matter should be understood also from the perspective of medieval mysticism and magic, mimesis and alchemy. In this sense, one must understand the artist's desire that his works gain the power to transform ourselves. During the fifties and sixties, Antoni Tpies irelaborando a series of images, usually sail from their immediate environment, which will appear in the various stages of its evolution. Often, the same image, apart from appearing represented in various forms, different meanings tendrmltiples that irn overlapping. His message focuses on the revaloracin of what is considered low, repulsive, material (not in vain Tpies often chooses subjects traditionally considered unpleasant and fetishistic, like a defecating anus, a left shoe, an arm, a foot and the like). Also, the work of Antoni Tpies has always been susceptible to politicians and social events of the moment. In the late sixties and early seventies, his commitment against the dictatorship POLITICAL intensifies, and the works of this period have a strong character to denounce and protest. Coinciding with the eclosin of Arte Povera in Europe and the U.S. posminimalismo, Tpies acenta working with objects, not mostrndolos as they are, but its stamp and incorporndolos imprimindoles your language. In the early eighties, once restored the rule of law in Spain, the interest of Tpies the canvas as a support takes on a renewed strength. During those years, has created works with foam rubber or the spray technique, using paints and creates objects and sculptures in clay chamotte or bronze, and is very active in the field of work graphic. Moreover, in the late eighties, seems to reinforce the interest of Tpies by Eastern culture, a bean preocupacin already been developing in the years after the war and that makes every once more in a fundamental filosfica influence in his work, by its emphasis on the material, the identity between man and nature and the negation of dualism in our society. Similarly, Tpies feel attracted by a new generation of scientists capable of supporting a vision of the universe who understands the matter as a whole, subject to constant change and formation. The works of recent years are essentially a reflection on the pain-physical and spiritual, seen as an integral part of life. Influenced by Buddhist thought, Tpies believes that increased knowledge of pain can soften its effect and thereby improve the quality of life. Over time, it has been a constant in the work of Tpies, now takes on new shades, to be experienced as a personal experience that involves a better self and a clear comprensinms world around him. During these last years, Antoni Tpies has established an artistic language that, on the one hand, reflects artistically his conception of art, and secondly, a filosficas renewed concerns over time. Her artistic practice is still permeable to the brutality of this, while offering a way that, despite its softness, remains true to its origins. In this sense, the works of recent years not only form part of the contemporary, they also are a record of the past of the artist. Parallel to the pictorial production and objects, Tpies has developed since 1947 an intense activity in the field of graphic work. In this regard, it is worth noting that the artist has done a great number of folders and books biblifilo in close collaboration with poets and writers such as Alberti, Bonnefoy, Du Bouchet, Brodsky, Brossa, Daive, Dupin, Foix, Frmone, Gimferrer, Guilln, Jabs, Mestres Quadreny, Mitscherlich, Peace, Saramago, Takiguchi, Ulln, Valente and Zambrano, among others. Also, Antoni Tpies has developed a task essayist who has led a number of publications, some translated into different languages: The practice of art (1971), anti-aesthetic art (1977), Report Personal (1983), The reality as art. For a modern and progressive art (1989), art and places (1999) and value of art (2001).
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