Montura: Antigua madera laqueada color oro sin vidrio (condición 10/10) Framework: Old gold lacquered wood without glass (condition 10/10)
Pascual Navarro VENEZUELA
B.1923
–
CODE GBM001 D.1986
TITLE
SIZE (cm)
DATE / #/EDITION
TECHNIQUE
UNTITLED
30x20
12-10-1970 / UNIQUE
CRAYONS OF COLORS AND PENCIL ON PAPER / HAND SIGNED
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Painter. Son of Enrique Navarro and Cruz Velásquez. He studied at the Ollarves sisters family school and J.M. Echandía In 1934 he was enrolled in the Academy of Fine Arts, which is directed by the sculptor Lorenzo González. In 1939 he meets Armando Reverón, who will have great influence in his life and work. Navarro receives a scholarship from the reformed Academy, now School of Plastic and Applied Arts (1940), under the direction of Antonio Edmundo Monsanto. In 1941, he sent his first works to the Second Official Hall, where a special section for the students of the School of Plastic and Applied Arts was created, and in the next room, he exhibited five paintings and two engravings in the student section. Navarro receives his first recognition in the V Official Show (1944) for his works Quebrada, Árboles y Sketch (the latter, reproduced in the National Culture Magazine, 42). In 1945, after concluding his academic studies, he lives in Macuto with Reverón, where he makes a series of drawings and cakes and starts his series of Nocturnes. That year it transpired in the press a nervous crisis of the painter who was reviewed by Guillermo Meneses in two articles (El Nacional, April 4 and April 18, 1945). From 1946 is his famous Girl with a fan (gouache on paper, GAN collection). Francisco Da Antonio commented that "in his works sent to the Official Salon of 1946 the presence of an exceptionally lucid painter was confirmed, for whom the subject only meant the pretext for ordering the space." His painting dealt, fundamentally, with the arrangement of color as a basic structure beyond the form to which, however, it submitted "(1982, p.265). In 1947 he exhibited with Mateo Manaure in the
CODE GBM001
Pascual Navarro VENEZUELA
–
D.1986
TITLE
SIZE (cm)
DATE / #/EDITION
TECHNIQUE
UNTITLED
30x20
12-10-1970 / UNIQUE
CRAYONS OF COLORS AND PENCIL ON PAPER / HAND SIGNED
MBA; for her Girl with a fan receives the Federico Brandt Prize and a scholarship to study in Paris, where she arrives in the company of Manaure on June 18.
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de Mayo in Paris. In 1953 he made three abstract-geometric murals for the covered plaza of the University City of Caracas. That year, after exhibiting in groups in the galleries Denise René, Suzanne Michel and Cimaise (Paris), she abandons abstractionism and returns to figuration. In 1955 he participated in the "International painting exhibition" at the Ateneo de Valencia (Edo Carabobo), with two works: Composition and Autumn (1955, Ateneo de Valencia collection, Edo Carabobo), which marked a change in style that was censored by Otero. In 1957 he is included by Michel Seuphor in the Dictionnaire de la peinture abstraite (Paris: Fernand Hazan). Between 1958 and 1961 he works with artistic orientation experiences, directing courses for students and workers in Spain and France. In 1963 he was appointed artistic advisor to the Fina Gómez Foundation and, in 1968, after a severe nervous breakdown in Madrid, he returned to Venezuela definitively, dedicating himself to the teaching of drawing and painting in the Torre de la Prensa (Caracas, 1969-1976). ). Navarro was a critic of outstanding art, he began his collaborations in El Nacional, where he published on January 26, 1947 a brilliant article on Reverón under plastic precepts. Much of this artist's work was done with gouache on paper, such as the aforementioned Girl from the Fan or Macuto (1946, GAN collection), where the artist left unpainted areas to take advantage of the color of the support; in the fifties he made some abstract works of free brushstroke, such as abstract composition on perpendicular (1950, collection Arturo Michelena Museum); later he used the oil on impeccably finished and outlined surfaces (Black, white and yellow, 1952, Paulina Villanueva collection). The GAN has Navarro three
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In 1948 he met the painter Hans Hartung, who will have a notable influence on his work, and participates for the first time in the Salon de Mayo. The following year he sent works to the "First exhibition of Latin American artists in Paris" (House of Latin America, Paris); receives the Antonio Esteban Frías award from the X Salón Oficial, with his work Desnudo, and publishes a folder with seven lithographs in an edition of 15 copies. Some of these pieces have a serial nature that Navarro will explore later, as in serial image of 1955 (Paulina Villanueva collection). Cruz Barceló Cedeño has commented that the influence of Hartung, Soulages and Schneider in the period 1948-1949 "is evident in the broad and agile brushstroke, without previous outline and without degradation of tonalities, in the expressive load of the stroke, where it is noticeable, However, a certain discipline "(1994, p.11). A representative work of that period is Male Figure (100 x 80 cm, La Casona Presidential Residence collection), signed in Paris in 1949. In 1950 he received the second prize in painting at the XI Salón Oficial with a figurative work; this year he also participates in the Salon de Otoño (Paris) and, together with Alejandro Otero and Mateo Manaure, promotes the creation of the Los Disidentes group, whose magazine is one of the main contributors. In 1951 he attended the Workshop of Abstract Art of Jean Dewasne and Edgar Pillet, breaking with precepts of The Dissenters. From this year until 1954 he participated in the Salon des Réalités Nouvelles (Paris). At that time, Navarro "sought harmony with a restricted range of colors and with flat dynamic shapes and regular and irregular contours, interspersed with each other and juxtaposed to achieve effects of action and vivacity", without exploring the field of line in yes (Barceló Cedeño, op.cit., p.7). In 1952 he was included in the First International Exhibition of Abstract Art (Galería Cuatro Muros, Caracas) and attended the Salon
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B.1923
CODE GBM001
Pascual Navarro VENEZUELA
–
D.1986
TITLE
SIZE (cm)
DATE / #/EDITION
TECHNIQUE
UNTITLED
30x20
12-10-1970 / UNIQUE
CRAYONS OF COLORS AND PENCIL ON PAPER / HAND SIGNED
enatemllc@gmail.com
practice of the plastic arts. He became a student of chromatic theories, which would take him in other directions, which is why he abandoned that exercise which had begun so hopefully. “ From Paris, he participates in the creation of the group Los Disidentes, 1 along with the artists Alejandro Otero, Mateo Manaure, Luis Guevara Moreno, Carlos González Bogen, Narciso Debourg, Perán Erminy, Rubén Nuñez, Dora Hersen, and Aimeé Battistine, led by JR Guillent Pérez This group is defined as being detractors of the traditional themes of representative painting, such as portraiture and landscape, which dominated the Venezuelan artistic scene of the time, and promoted the creation of an abstract character, more in tune with the international reality of modern art. . They manage to publish five issues of the magazine of the same name. He was also part of the Free Art Workshop.
Mural by Pascual Navarro 1954, Central University of Venezuela, Caracas.
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cakes of his first stage, a self-portrait without date, a girl of 1946 and a nude of 1948. Alfredo Boulton has said about Navarro: "in any relationship that is made of painting in Venezuela during the forties At fifty, it is essential to take into account the youthful work of Pascual Navarro, whose production, limited in quantity, stood out, within his generational group, for a very defined personality [...] Within the generation of the first students of the Cuño was possibly Navarro, one of those who felt and assimilated in a more profound way the call of the new tendencies: his ardor of character, his lively understanding, his sharpened and fine perception of the problems, had made him one of our greatest pictorial hopes. [...] When the 'Retrospective Exhibition' of Reverón was held, in the CVA, in 1943, Navarro knew then two important canvases on nocturnal subjects, Procession of l Virgin in the Valley and Patio with moon. In these works was raised, with a tremendous force of suggestion, the mysterious sense of the image that Reverón always insisted on transmitting and that had one of its clearest exponents in the cave. Perhaps the first among the boys of the Cuño to understand that attitude of Reverón was Navarro, who from that moment was subjugated by the work of the great artist. The very fine analytical concept he possessed then allowed him to execute in 1945 a series of Nocturnes, which are the best proof of the high sensitivity of his spirit [...]. In 1948, Navarro was already living in Paris, where he came into contact with a new cultural horizon and discovered the abstractgeometric message of those at the forefront of that movement. He fell under the influence of Dewasne, Herbin and Pillet and was one of the most passionate defenders of that new modality. From his initial training he kept some figurative concepts and it was inevitable for him, too, to try certain Picasso structures from which step by step, he was liberating more and more until achieving an expression, in terms of character, the conception of the theme and to the message, which was completely appropriate. In the following years, Navarro undertook other paths that separated him from the
@enatemllc
B.1923
CODE GBM001
Pascual Navarro VENEZUELA
–
D.1986
TITLE
SIZE (cm)
DATE / #/EDITION
TECHNIQUE
UNTITLED
30x20
12-10-1970 / UNIQUE
CRAYONS OF COLORS AND PENCIL ON PAPER / HAND SIGNED
enatemllc@gmail.com
https://es.wikipedia.org/wiki/Pascual_Navarro http://vereda.ula.ve/wiki_artevenezolano/index.php/Navarro,_Pascual https://www.saladeespera.com.ve/in-memoriam-pascual-navarro/ http://icaadocs.mfah.org/icaadocs/ELARCHIVO/RegistroCompleto/tabid/99/ doc/1157920/language/es-MX/Default.aspx
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SOME INDIVIDUAL EXHIBITIONS 1946 La France Bookstore, Caracas 1952 Arnaud Gallery, Paris 1956 Clan Gallery, Madrid 1968 "Drawings and pastels", Gallery XX2, Caracas 1970 "Faces of a woman in the shade of girls in bloom", Banap Gallery, Caracas 1973 Exhibition Hall, Plaza Bolívar, Caracas / Galería Michelena, Caracas 1978 Galería André, Caracas Posthumous exhibitions 1994 "Pascual Navarro: images and perceptions of a time", Museo Arturo Michelena, Caracas 1998 "Between neoclassical galas", Municipal Theater, Valencia, Edo. Carabobo SOME AWARDS 1944 Prize for works of special merit, V Official Show 1946 Andrés Pérez Mujica Award, IV Arturo Michelena Room 1947 Federico Brandt Prize, VIII Official Hall 1949 Antonio Esteban Frías Award, X Official Salon 1950 Second prize in painting, XI Salón Oficial 1953 Emilio Boggio Award, XI Salon Arturo Michelena 1955 Grand prize for Venezuelan painters, "International painting exhibition", Ateneo de Valencia, Edo. Carabobo 1957 Second prize, IX Planchart Hall 1984 Armando Reverón Award, AVAP SOME COLLECTIONS Athenaeum of Valencia, Edo. Carabobo / Banco Mercantil, Caracas / Cisneros Collection, Caracas / GAN / Mamja / MBA / Arturo Michelena Museum, Caracas / Anzoátegui Museum, Barcelona, Edo. Anzoátegui / Soto Museum / Presidential Residence La Casona, Caracas / UCV
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B.1923
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