JORDI TEIXIDOR (Valencia, 1941).
"252", 1976.
Acrylic on wood.
Signed and dated in the lower right corner. Signed, dated and titled on the back.
Measurements: 110 x 80 cm.
In this work we can see how the impulse to create a refined and clear painting led Teixidor to investigate in the field of colour, in the North American field colour and in the large monochrome, smooth or vibrant surfaces.
Awarded the Premio Nacional de Artes Plásticas in 2014 and, since 2002, a member of the Real Academia de Bellas Artes de San Fernando, Jordi Teixidor is considered one of the leading representatives of Spanish abstraction, close to critical thought and the modern tradition. He began his artistic career in 1966, working at the Museo de Arte Abstracto de Cuenca together with Jose María Yturralde, and assimilating the aesthetics of the Cuenca School, mainly the works of Gustavo Torner and Fernando Zóbel. In the same year he joined the group Nueva Generación, promoted by the critic Juan Antonio Aguirre. In 1979 he received a grant from the Juan March Foundation and settled in New York until 1981. At that time he was selected by Margit Rowell to participate in the exhibition New Images from Spain, at the Solomon R. Guggenheim Museum in New York. His first works focused on the geometrical field, making graphs on combinatorics, making macles that referenced fluorite and studies on the symmetry planes of the hexahedron, thus showing his interest in gemology and mineralogy. In this way, he formulated the representation of the nine planes of symmetry in their respective cubes, allowing for combinatory variants in the structure. The impulse to create a refined and clear painting would lead Teixidor to the field of colour, to the North American colour field, to large monochrome surfaces, smooth or vibrant, based on the superimposition of chromatic layers or subtle lines and graphics, mimicking the minimalism of Barnett Newman, the precursor of minimalism, and an artist for whom the Valencian artist felt great admiration.