LUCIO MUÑOZ MARTÃNEZ (Madrid, 1929 - 1998).
"Reco Violace", Box 13, 1994.
Mixed media on panel.
Presents an exhibition label from the North Carolina Museum of Art Raleig N.C., 1975.
It has slight faults on the outside of the frame.
Measurements: 130 x 97 cm; 148, 5 x 115 cm (frame).
In 1994, Lucio Muñoz began his last pictorial stage defined by a process of synthesis, in which he sought to exalt the composition, thus reducing the pictorial elements and converting the presence of wood into the work itself and not into an added material as can be seen in this work. In the artist's own words, "After so many years I have given the wood total protagonism and total responsibility for the expression in the painting. Even the colour has been ceded to the wood and I rarely superimpose it, at least in this pictorialist sense. It is no longer "painting on panel", but it is not sculpture either, I insist on my paradox that it is more "painting" than ever".
One of the foremost exponents of Spanish Informalism and a pioneer of abstraction in the country, Lucio Muñoz began his career focusing on landscape painting, one of the most cultivated genres in Spain at the time, largely thanks to the influence of Benjamín Palencia. He began his training at the San Fernando Academy of Fine Arts, where he was a pupil of Eduardo Chicharro. After completing his studies he came into contact with the Madrid realists Antonio López and the López Hernández brothers. He made his solo debut in 1955, with an exhibition at the Dintel gallery in Santander consisting of works already close to abstraction, which reveal the influences of Klee, Rufino Tamayo, Ben Nicholson and Torres García. That same year he takes part in a collective exhibition organised by the Dirección General de Bellas Artes, together with Antonio López, Julio L. Hernández and Francisco López. The following year he obtained a grant from the French State to complete his training in Paris. There he studied the works of Fautrier, Dubuffet, Wols and Tàpies, and his style drifted definitively towards Informalism, leaving behind the initial influences of Cubism and Expressionism. From this point onwards Muñoz became fully committed to abstract expressionism. He returned to Spain and held two exhibitions that tell us about the establishment of his personal style and place him squarely in the Spanish avant-garde. The first took place at the Fernando Fe gallery in Madrid in 1957, and the second was held the following year at the Ateneo in the same city. His material painting, his original, sensitive and personal use of materials, gives his compositions a poetic and lyrical dimension. The importance Muñoz attaches to the support itself stands out in his production; the artist perforates, tears, makes incisions, etc., approaching Informalism in a totally personal way. His works, most of which are colourful, represent the purest informalism. After an initial stage of experimentation with the most diverse materials (burnt paper, wood, etc.), in his final phase his painting became less aggressive, due to the use of materials with less relief and a palette tending towards monochrome. During these years his influences broadened to include the black paintings of Goya, the work of Velázquez, Gregorian chant with its solemn depth, the sober and infinite landscapes of Castile, the liberated energy of flamenco and the engravings of Albrecht Dürer. In 1961 he held his first solo exhibition abroad at the Joachim Gallery in Chicago, and two years later he exhibited for the first time in New York at the Staemplfi Gallery. Since then he has had solo exhibitions all over Spain, as well as in cities such as Buenos Aires, Frankfurt, Lisbon, Munich, London, Havana, Paris, Berlin and Brussels.