ART “4”
“2”-DAY 05 March
v.8.20 |
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Died on 05 March 1895: Charles Édouard Edmond Delort,
French painter born on 04 February 1841. — Delort was born in Nimes, France, and spent the early part of his life in the area around Bordeaux. At the age of 12 he entered the naval Academy, but the strict training was not to his liking and he soon left. He met M. Duhousset, the Professor of Design at the college of Lorient, in Brittany, and studied under him for a short time. It soon became clear to Delort that Duhousset’s intention was to prepare and persuade him to enter the École de l'État-Major. So Delort quit and went to Paris in 1859. Thanks to the recommendation of Gérôme, a family friend, he entered the studio of Gleyre where he made rapid progress. It was during Delort's training by Gleyre that Delort acquired “those warm, refined, yet vigorous octaves of color which we are to find at a later period in all his work”. (George Pradel, Les Aquarellists, 1883). In 1862 Gérôme sailed for Egypt and Delort, seeing the opportunity for a close relationship with the master, accompanied him. With Gérôme as his mentor and guide, Delort was able to complete an important series of studies during the journey and upon returning to Paris, he entered the competition for the Prix de Rome. Delort spent the next few years in his retreat at Marlotte, where he studied and worked on his technique. In 1866 he was ready to exhibit and made his debut at the Paris Salon with his work – Daphnis and Chloe. The work was a great success and as he continued to exhibit his popularity rose, collectors and dealers soon learned the way to his studio in Marlotte. In 1875 he exhibited his most admired work, The Embarcation of Manon Lescaut for Louisiana. It was from this point that he seems to have devoted his career to scenes of the 18th century. — LINKS — The Cardinal's Leisure (80x61cm) — A Toast to Love (100x73cm) — Vendredi (56x81cm) — La Fête de la Vendange (70x102cm) — The Proposal (57x91cm) — The Welcome Visitor (329x600pix, 47kb) |
| ^Died
on 05 March 1534: Antonio Allegri “Correggio”,
Italian Mannerist
painter born in August 1494. — {Mai perdeva la correggia? Sempre era
uno degli allegri?} — Correggio, whose real name was Antonio Allegri, was a Renaissance painter whose innovations in depicting space and movement anticipated the baroque style. Born in Correggio, Allegri studied painting reputedly with an uncle and with Francesco Bianchi-Ferrari in Modena. His work was influenced by Andrea Mantegna and Leonardo da Vinci. Settling in Parma in 1518, Correggio painted his first set of frescoes in the Abbess's Salon of the Convent of San Paolo; they are known collectively as Diana Returning from the Chase. This work is notable for the extreme foreshortening of the cherubs placed in many small panels around the room. From 1520 to 1524, Correggio worked on the fresco The Ascension of Christ in the cupola of the Church of San Giovanni Evangelista, in Parma. The skillful use of light and shadow and luminous colors enhance the illusionistic technique, which makes the scene seem to extend beyond the physical limits of the dome. Similar but more complex effects can be observed in The Assumption of the Virgin (1526-1530) in the Cathedral of Parma. He returned to Correggio about 1530, after the death of his wife, before completing other decorations in the cathedral. Correggio's paintings are characterized by sensuous nude figures, colors that have a cool, silvery sheen, great skill in foreshortening, and originality of perspective. About 40 of his canvases exist. All represent religious and mythological subjects. The religious paintings, such as the Madonna and Saint Jerome, also called Day (1527) and Holy Night (1530), are distinguished usually by a pearly tonality. The nudes in his mythological scenes, notably Jupiter and Io (1532) and Jupiter and Antiope (1532), express spiritual ecstasy similar to that of his religious figures. The painters of the Carracci family, the 16th-century Bolognese founders of the eclectic school, and Correggio's student Il Parmigianino incorporated Correggio's style into their work. — Correggio is the pseudonym of Italian painter Antonio Allegri, who was born around 1489/93 into the family of provincial artists in the town of Correggio. As a painter he worked in Parma, where he came in contact and experienced a wide range of influences of different Italian art schools of the High Renaissance – first Leonardo de Vinci and the Venetians, then Michelangelo and Raphael. He managed to make his own way in Italian art. He surpassed the traditions of the High Renaissance; at the same time he has practically no links with Mannerism, which began to form in the 1520s-1530s. Exceptionally gifted, with a powerful talent, thirst for novelty, rich fantasy and refined taste Correggio enriched Italian painting with many discoveries, which anticipated the Italian Baroque of the 17th century. — Correggio is the pseudonym of Italian painter Antonio Allegri, who was born into the family of provincial artists in the town of Correggio. As a painter he worked in Parma, where he came in contact and experienced a wide range of influences of different Italian art schools of the High Renaissance – first Leonardo de Vinci and the Venetians, then Michelangelo and Raphael. He managed to make his own way in Italian art. He surpassed the traditions of the High Renaissance; at the same time he has practically no links with Mannerism, which began to form in the 1520s-1530s. Exceptionally gifted, with a powerful talent, thirst for novelty, rich fantasy and refined taste Correggio enriched Italian painting with many discoveries, which anticipated the Italian Baroque of the 17th century. During his 20-year-long career Correggio created many big altar paintings, such as _ Judith (1514), _ Madonna and Child with St. George (1520s-1530s). Having started with traditional for Italian painting of the 16th century, solemn altar with Madonna on a throne and Saints surrounding her pedestal, Correggio then introduced new topics for altar paintings: _ Adoration of the Shepherds (The Holy Night) (1522), _ Madonna del Latte (1523). He introduced some theatrical effects into religious painting, combining grandeur with tenderness and sentiment, even sensuality. There was little difference between physical and spiritual ecstasy for Correggio, who thereby established an important precedent for Baroque artists. Especially sensual are his mythological canvases: _ The Abduction of Ganymede (1532), _ Zeus and Io (1532), _ Leda and the Swan (1532), _ Danae (1531) and others. The reformatory character of his talent expressed itself especially brightly in his monumental works. The first of them is Camera of Abyss in the convent of San Paolo, Parma, 1519: _ General View of the Abbess' Room (1519), Diana (1519). In frescos of the Church of San Giovanni Evangelist (1521), Correggio was the first to “tear” the ceiling, depicting open skies with Christ: _ Vision of St. John the Evangelist(1524). In the frescoes of the Parma Cathedral (1530) the composition is more sophisticated. His largest work, the fresco of _ The Assumption of the Virgin in the dome of Parma Cathedral, is a masterpiece of illusionistic perspective, a vast, luminous space filled with soaring figures. Although they move with such exhilarating ease that the force of gravity seems not to exist for them, these are healthy, energetic beings of flesh and blood, not disembodied spirits, and they frankly delight in their weightless condition. Frescoes of Parma Cathedral became an example for later dome frescoes of Mannerists and Baroque artists. Correggio had no immediate successors, nor did he have any lasting influence on the art of his century, but toward 1600 his work began to be widely appreciated as the equal of Raphael and Michelangelo, while the Mannerists, so important before, were largely forgotten. — LINKS — Holy Night (1530; 600x438pix _ ZOOM to 1400x1022pix) — Judith and her Servant with the Head of Holofernes (600x454pix _ ZOOM to 1400x1060pix) — The Martyrdom of Four Saints (1523, 159x185cm; _ ZOOMable) — Venus with Mercury and Cupid (ZOOMable) — A Magistrate (600x438pix _ ZOOM to 1400x1022pix) — Venus with Cupid and a Satyr (1530; 600x397pix _ ZOOM to 1400x927pix) — Deposition from the Cross (1525, 158x184cm) _ This painting, together with its companion piece the Martyrdom of Four Saints, was painted for the Del Bono chapel in San Giovanni, Parma. The unusual shape of the figures, which never fit into the scene, are probably due to the original dimensions of the chapel (which was later enlarged). — Noli me Tangere (1525, 130x103cm _ ZOOM to 2628x2024pix, 327kb) _ detail (599x485pix, 51kb _ ZOOM to 2501x2024pix, 376kb) Mary Magdalene _ Untempted by Rome, Florence or Venice, Correggio, working in the North Italian city of Parma, maintained his originality throughout the High Renaissance and became one of the most important influences on seventeenth-century Baroque painting. However, he was receptive to the art particularly of Raphael and Leonardo: his sense of ideal beauty and the structure of his compositions owe much to Raphael, while his handling of textures and light presupposes Leonardo. In this work he uses a pyramidal composition of classic High Renaissance kind and a diagonal movement anticipating the Baroque. The beautiful landscape evokes the light of dawn, the time when Mary Magdalene met Christ by the tomb. — The Mystic Marriage of Saint Catherine (1526, 105x102cm; image slightly cropped at top 736x772pix, 105kb _ ZOOM to complete image 2100x2024pix, 258kb) _ This panel belongs to a large group of Madonna painnting where Correggio expressed his feminine ideal. He painted this subject previously in several small paintings and later it was copied or imitated in the 19th century. — another version of The Mystic Marriage of Saint Catherine (1518, 28x24cm; 599x487pix, 59kb _ ZOOM to 2491x2024pix, 424kb) — Danae (1531) — Jupiter and Io (1531) — Jupiter, Antiope, and Cupid (1528, 190x124cm; 1000x639pix, 213kb _ ZOOM to 2457x1576pix, 257kb) — Madonna of Saint Jerome (1527; _ ZOOM to 2923x2024pix, 349kb) _ detail 1 (599x490pix, 52kb _ ZOOM to 2475x2024pix, 346kb) Mary, Baby Jesus, Mary Magdalene _ detail 2 (599x490pix, 60kb _ ZOOM to 2474x2024pix, 351kb) Saint Jerome and an angel. — Putto With Hunting Trophy (1519) — The Magdalene (1519, 38x30cm) — Christ taking Leave of His Mother (1512, 87x77cm) — Ecce Homo (1530, 100x80cm; 837x660pix) — Io (1530; 600x245pix, 57kb) — 62 ZOOMable images at Wikimedia —(060304) |
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Died on 05 (06?) March 1755: Pier~Leone Ghezzi,
Italian painter, draftsman, antiquarian, and musician, born on 28 June 1674.
— Son of Giuseppe Ghezzi [1634-1721], Pier-Leone Ghezzi was the first professional caricaturist, but he also painted decorative frescoes and created a new type of anecdotal and realistic history painting. As a portrait painter, his works are distinguished by their fresh naturalism. He enjoyed a privileged relationship with Pope Clement XI and his family, and was patronized by the Roman nobility, high churchmen and French aristocrats in Rome. It is their world, and that of the British Grand Tourist, that he portrayed — with humor yet without malice — in his many caricatures. — LINKS — The Prodigal Son (1730, 98x134cm; 897x1239pix, 912kb _ .ZOOM to 1446x1956pix, 504kb _ ZOOM+ to 1656x2288pix, 3542kb) —(060313) |
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on 05 March 1856: Mikhail Aleksandrovich Vrubel
(or Wrubel, Wroubel), Russian Symbolist
painter who died on 01 April 1910. — Vrubel was an artist of remarkable talent and an unusual outlook on life. His paintings were produced in alternately hostile and sympathetic atmosphere. In his lifetime, he knew both praise and disdain, the spectator’s opinions ranging from “wild ugliness” to “fascinating symphonies of a genius”. Gradually, however, Vrubel’s painting came to be viewed as an integral part of Russian culture. Some scholars were inclined to relate his painting directly to the Early Renaissance or Late Byzantine art and looked upon Vrubel as a proud artistic individual who held aloof from contemporary trends. On the other hand, many art historians of today tend to consider Vrubel as the founder of Russian Art Nouveau. Born into the family of a military lawyer, Vrubel first finished the St. Petersburg University (in 1880) to become a lawyer, but the same year entered the Academy of Arts. In his autobiography, written in 1901, Vrubel referred to his Academy years as the happiest in his life as an artist. For that he was indebted to professor Pavel Tchistyakov, who was famous for his method of teaching painting and drawing. Among Tchistyakov’s pupils were such outstanding painters as Vasily Surikov, Viktor Vasnetsov and Vasily Polenov who all thought very highly of their teacher. Vrubel owed much to the Academy and never shared the distaste felt by many advanced painters of the time. Vrubel’s art, academic in a sense, was based on the cult of the model and drawing. His Academy drawings on classical subjects are striking for their elegant workmanship. However, even during his training, Vrubel never was a devoted follower of the Academy style. Along with an expressiveness and rich imagination, his works, already at this period, reveal a taste for improvisation, fragmentary composition, his characteristic “unfinished” manner peculiarly fused with classical style and monumentality. In 1884, the famous art historian Adrian Prakhov, who supervised the re-construction of the old and construction of the new cathedrals in Kiev, invited Vrubel to take part in the restoration of the Old Russian murals and mosaics in the 12th century Church of St. Cyril. The knowledge Vrubel acquired in the process of this work contributed to the perfection of his style as a painter. In St. Cyril’s Church, Vrubel executed new murals in place of the lost ones, _ The Descent of the Holy Spirit upon the Apostles (Pentecost) and Three Angels over the Body of Christ. Later, he was commissioned to paint icons for the iconostasis of the church, which he did in Venice where he spent several months in the years 1884-85. In Venice, Vrubel was particularly impressed by the medieval mosaics in the Church of San Marco and the Early Renaissance paintings by Giovanni Bellini and Cima da Conegliano. It was in Venice that Vrubel’s palette acquired new strong saturated tones resembling the iridescent play of precious stones. In Venice, Vrubel produced four large icons, including _ The Virgin. He drew the face of the Virgin from the studies of E. Prakhova, wife of A. Prakhov. Back in Kiev, Vrubel started a series of watercolor studies for the recently built Cathedral of St. Vladimir, among them several versions of _ The Lamentation (1887) and The Resurrection (1887). The jury rejected all his projects. In Kiev Vrubel started to work on the theme of the demon. The Kiev versions of The Demon, both the pictures and sculptures, have not survived. In fact, Vrubel did not take pains to preserve his works, being more interested in the process of creation than in the result. Other works of the Kiev period include the large canvas _ Portrait of a Girl against a Persian Carpet and _ The Oriental Tale (1886), the latter inspired by The Arabian Nights, Hamlet and Ophelia (1884) and numerous watercolors with flowers. The murals, canvases, or small watercolors done in Kiev have none of the Art Nouveau style, which was to appear only in Vrubel’s works of the Moscow period. Vrubel planned to stop in Moscow for a few days during his business trip, but the acquaintances from Moscow's artistic life kept him in Moscow for years. During his first year in Moscow, Vrubel went on working on the paintings he had conceived in Kiev. Among others are _ The Seated Demon (1890) and a series of illustrations for Mikhail Lermontov’s poem The Demon (1890) and his novel A Hero of Our Time (1891). The illustrations made his name known to the public but brought him notoriety rather than fame: too unusual for the tastes of 1880s, they caused bewilderment and derision. But in the artistic circles of Russia, Vrubel was received favorably. He found support from Savva Mamontov, a famous Moscow patron of arts, who invited the artist to work at the pottery shop on his estate in Abramtsevo near Moscow and commissioned him to paint the scenery for his Private Opera in Moscow. Mamontov also built up a clientele commissioning Vrubel to paint decor for mansions. Together with Mamontov and his family Vrubel traveled in Europe. Later Vrubel tried various artistic media such as applied art (ceramics, majolica, stained glass), architectural masks, stage set and costume design, and even architecture. His talent proved truly universal: in everything he did, and he could do almost everything, was the search for a lucid beautiful style. This search eventually made Vrubel the true founder of Russian Art Nouveau, a style that partially grew out of Russian neo-romanticism. The most characteristic feature of this style is its cult of beauty – melancholic, enigmatic and refined – and its tendency to the synthesis of arts in everything, be it an illustrated book, a theater performance, or décor. Art Nouveau never was confined to easel painting or sculpture alone. It found its way into people’s households becoming an essential part of interior decoration. The somewhat affected mannerism generally typical of the style, also manifested itself in Vrubel’s works of the Moscow period. His panels, ceramic dishes, stylized furniture, costumes, and vignettes, perfect as they are, are at the same time superficial, as if intended for a fancy ball. Vrubel’s best Moscow works include the _ Fortune-Teller (1895), _ Lilac (1900), _ At Nightfall (1900), _ Pan (1899), _ The Swan Princess (1900) as well as the portraits of _ Savva Mamontov (1891), _ his business partner K. Artsybushev (1896), and _ Painter’s Wife in Empire Dress (1898). In 1896, in an opera in St. Petersburg, Vrubel heard the singer Nadezhda Zabela, he fell in love with the voice immediately. After the performance they got acquainted and, half a year later, married. At the time Vrubel was referred to as the husband of the famous opera singer Nadezhda Zabela. They settled in Moscow, and Nadezhda started to sing in Mamontov’s Private Opera. In the last years of the 19th century, Vrubel was preoccupied with motifs of the Russian epic and fairy tales, this largely under the influence of Rimsky-Korsakov’s operas, e.g. The Snow Maiden, The Tale of Tzar Saltan, and others, where his wife sang the parts of the Snow Maiden, the Swan Princess, princess Volkhova, etc. He designed dresses for his wife, both for the stage and for real life, he drew stage sets, designed costumes. Later, he resumed work on the Demon theme. In 1901, he started his large canvas Demon Downcast. Exhibited in 1902, the painting overwhelmed the audience and won real fame for the artist. The painting, charged with motion, is strongly decorative. Striving to create the astounding effect, Vrubel, who at the time, was already unbalanced, repainted the Demon’s face, his sinister eyes, his lips, twisted by pain. He repeatedly repainted the picture even when it was on display until he had one of his breakdowns. Having recovered, Vrubel never again returned to this theme. While in the hospital, he painted a great deal from life – portraits, landscapes, still lifes, as if in hope to rejuvenate the faded palette of his art through painstaking study of nature. Most of these late works were painted from life. They include numerous portraits of Vrubel’s wife, a portrait of his little son (1902), several self-portraits, and, at last, his remarkable _ Pearl Oyster (1904) where the mystifying play of the mother-of-pearl is rendered with the virtuosi brush of the artist. Alongside these works, Vrubel produced many versions of the prophet, inspired by the famous Pushkin’s poem. In one of the versions, the Prophet’s face is actually a self-portrait while the figure of the six-winged Seraph is apparently Azrael, the angel of death. _ Azrael (1904), though not so famous as the Demon Downcast, is one of Vrubel’s best achievements. In his many variations on the Prophet theme, Vrubel relates a tragedy of the artist who, as he believed, failed to fulfill his mission to “sear the hearts of men with righteous word”. Unfortunately, many of Vrubel’s works have changed with time; he used to add bronze powder to his oils to give them a glistening effect. Bronze darkened, and Vrubel’s paintings lost their initial coloring. In 1906, when Vrubel was hospitalized in Dr. Usoltsev’s mental clinic, he continued to make studies for the Prophet and even his rapidly developing blindness did not prevent him from doing this. At the same time, Vrubel painted the _ Portrait of the Poet Valery Briusov, destined to be his last work. During the last four years of his life Vrubel lived in complete mental decline. — LINKS — Self-Portrait (1882) — Self-Portrait (1886) — Self-Portrait (1905) — The Virgin and Child (1885) _ detail (777x563pix, 118kb) the head of the Virgin. — A Girl against a Persian Carpet (1886) _ detail the head of the girl. — Nadezhda Sabela-Vrubel at the Piano (1900; 1356x400pix, 363kb) |
| ^Died
on 05 March 1638: Paulus Janszoon
Moreelse (or Morselszen), Utrecht Dutch painter,
draftsman, architect, and urban planner, born in 1571. — {Did he tell
prospective buyers: “Pay me more, else I don't sell.”?} — Moreelse was a painter and architect, active in Utrecht, where he helped found the Saint Lucas guild in 1611. He is best known for his portraits, which are similar to those made by his teacher Miereveld, but less severe. His portraits of shepherds and blonde shepherdesses with a deep decolletage were popular during his lifetime. He designed the Catherine Gate (destroyed) and possibly the façade of the Meat Market in Utrecht. — He was from a well-to-do family, which settled in Utrecht about three years before his birth. Moreelse studied under Abraham Bloemaert and under the Delft portrait painter Michiel Miereveld and was in Italy before 1596, the year he became an independent master in the saddlemakers’ guild, to which Utrecht painters then belonged. On 08 June 1602 he married Antonia Wyntershoven, by whom he had at least ten children. The most famous of his many students was Dirck van Baburen, whom he trained in 1611, when the Utrecht artists set up their own Guild of Saint Luke. Moreelse was instrumental in this and became its first dean. In 1618, after a series of political disagreements, a number of citizens, including Moreelse and the painter Joachim Wtewael, petitioned the town council to resign. When that occurred, Moreelse became a member of the new council and continued to hold various public offices until his death. He was a strong supporter of plans to found a university in Utrecht and was closely involved in the preparations and in its opening in 1636, even designing the cap presented to graduating students. — LINKS — A Young Woman as Flora (1633, 74x59cm; 1004x800pix, 106kb _ ZOOM to 1603x1277pix, 218kb) — Catharina van Voorst [1595-1650] (1628, 99x80cm; image cropped of empty space at top 700x700pix, 218kb _ ZOOM to 2011x2011pix, 1830kb) — Lucas van Voorst [1590-1669] (1628, 99x80cm; 786x624pix, 256kb _ ZOOM to 2271x1803pix, 1853kb) — Sophia Hedwig, Countess of Nassau Dietz, with her Three Sons (1621) _ Moreelse practiced his master's (Michiel van Miereveld) portrait style in Utrecht with equal dexterity, less severity, and greater versatility. He helped initiate the vogue for pastoral genre pictures and arcadian portraits. His historiated portrait of Countess Sophia Hedwig shows her with her three sons in the role of Charity. Her bare breast and the accompanying children are traditional attributes of Charity, the virtue she is personifying. She is depicted wearing a quasioriental costume and jewelled headdress, her two eldest sons wear antique tunics, and her lightly draped youngest son wears the two strings of pearls which he was adorned when Morelsee portrayed him when he was twenty-nine weeks old. In the background there is a muse holding a baby thought to be Sophia's daughter born November 1620. —(060313) |
| 1932 . Estudia a Besiers (França) fins a 1934, on rep una educació
bàsicament literària. 1935 . Es trasllada a Barcelona. Estudia batxillerat a l'Institut Salmeron i ingressa a l'Escola Massana. 1938 . Imprimeix un petit llibre de poemes i dibuixos que titula Abracadabra. 1939 . Fi de la Guerra Civil. El servei militar se li allarga quatre anys més. 1941 . És destinat a Ceuta. Visita Tetuan, València, Còrdova, i Madrid, i coneix el Museu del Prado. 1942 . Retorna a Barcelona, on assisteix a gairebé tots els concerts que se celebren a la ciutat. 1943 . Es casa amb Pilar Ral i Ferrer i, poc després, s'ha de reincorporar al servei militar. 1945 . S'interessa per la gran aportació feta a l'art modern pels pintors impressionistes. Fa dibuixos al pastel influït per Tolousse-Lautrec i Van Gogh. 1946 . Primeres obres fetes amb papers de color retallats o estripats. Influència de Mondrian i Kandinsky. 1947 . Enric Tormo li presenta els pintors August Puig, Joan Ponç, i el poeta Joan Brossa. Poc després coneix Modest Cuixart i Antoni Tàpies. 1948 . Fundació del grup Dau al Set. El setembre surt el núm. 1 de la revista. A la darrera pàgina hi figura: "Fundador: Joan Josep Tharrats. Director: Joan Ponç". El darrer número es publica el 1956. 1949 . Els membres del grup Dau al Set visiten Joan Miró. Primer viatge a París, on es posa en contacte amb l'obra dels mestres de l'art modern: Kandinsky, Klee, Ernst, Picasso, Matisse, Chagall, i Giacometti. 1950. Publica el llibre Antoni Tàpies o el Dau Modern de Versalles . Intervé en les activitats del Club 49. Primers contactes amb el Museu d'Art Modern de Nova York, que qualifica Dau al Set com una de les publicacions avantguardistes més interessants del món. 1952 . Coneix Salvador Dalí. Publica a Revista articles sobre l'art de les avantguardes. N'hi publicarà gairebé 350 fins a 1982. 1953 . Opté una beca de l'Institut Francès per estudiar a Valauri. Viatja a Bèlgica i Holanda i visita l'estudi de Picasso a Valauri. Coneix a Barcelona el poeta Jean Cocteau i a Cadaqués Marcel Duchamp. 1954 . Primeres maculatures. Viatja a Itàlia, on coneix Giorgio de Chirico i Carlo Carrà. 1956 . Realitza una sèrie de joies, esmalts i escultures. Comença a estiuejar a la població de Cadaqués. 1957 . Viatja a Suïssa, Àustria i Alemanya. A Cadaqués coneix el poeta Carles Riba. 1958 . Estades a Zuric, Lausana, i Milà, on coneix Lucio Fontana. 1959 . Fa estades a París i Munic. 1961 . Primer viatge als EUA, on coneix Ernst, De Kooning, i Rothko. Funda el grup 0 Figura amb Vilacasas, Claret, Hernàndez-Pijuan, Subirachs, i Santos Torroella. 1962 . Torna als EUA. 1963 . Pinta la sèrie Homenatge a Delacroix. 1964 . Exposa la sèrie Paisatges genesíacs a la Biennal de Venècia i el seu Homenatge a Velázquez a la Fira de Nova York.Viatja a Grècia i Turquia. 1966 . Realitza un paviment de 3000 m2 al Mirador de l'Alcalde, a Montjuïc. 1968 .. Estades a Alemanya, Txecoslovàquia, Iugoslàvia, Àustria i Itàlia. 1970 . Pinta la sèrie en homenatge a Hokusai. 1973 . Realitza 12 litografies inspirades en el llibre del Génesi . 1977 . Edició de la carpeta amb 13 grans litografies i serigrafies Homes i estrelles . 1979 . Realització del film Tharrats , de Jordi Cadena. 1980 . Edita la carpeta de litografies i serigrafies amb els dotze signes del Zodíac . 1982 . Publica el llibre Picasso i els pintors catalans en el ballet . 1983 . Publica la revista d'art i poesia Negre + Blau , de la qual s'editaran 24 números. 1988 . Treballa en una sèrie de 25 tapissos que es realitzen als obradors de Girona que dirigeix Carles Delclaux. 1989 . Tercer viatge al Japó. 1991 . Presenta Camí de la Creu , 14 gravats sobre la Setmana Santa. 1992 . Publica el llibre Dames de tots colors. 1993 . Publica el llibre Surrealisme a l'Empordà i altres fantasies. |
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