Antonio Saura | Antonio Saura Foundation | Contemporary Art Foundation

Antonio Saura 1932

1932

Antonio Saura 1935

1935

Los tres hermanos mayores con su padre 1943

1943

Antonio Saura 1944

1944

Antonio Saura. Madrid 1945

Madrid 1945

Antonio Saura junto a su padre en su residencia familiar c/ Aravaca 6, Madrid 1949

Madrid 1949

Antonio Saura en su residencia familiar c/ Aravaca 6, Madrid 1949

Madrid 1949

Antonio Saura. Londres 1972

Londres 1972

Antonio Saura. Stuttgart 1991

Stuttgart 1991

Cuenca 1998

Cuenca 1998

Mª Ángeles y Antonio Saura Cuenca 1998

Cuenca 1998

Antonio Saura


Antonio Saura was born in Huesca on 22nd of September 1930.
He lives with his family in Madrid, Valencia and Barcelona during the Civil War years. His first contact with art came at this difficult time: memories of films, visits to the Prado where Goya and Velázquez above all would affect him, absolute maestros of reference in his work. At the end of the war, he lives for a year in Huesca and then returns to Madrid. From 1943, tuberculosis keeps him immobilised for five years. During this time, despite the circumstances, he connects and communicates with his more creative inner world. Lectures and reflections on the context of art, mostly on an international level, place him within the artistic and intellectual modernity of the times. Feeling profoundly attracted to this wave of ideas and thoughts, he thereby discovers the surrealism of André Bretón.	Antonio Saura. Barcelona, 1947

His eagerness to learn leads him in 1947 to write and paint his first small format, surrealist work. From 1948 the Saura family begin to spend their summers in Cuenca. What, to begin with, were visits for health reasons, were to become in the end a decisive influence in the artistic view of the painter. And Antonio Saura quickly became fascinated with the view from the window of his house in San Pedro street; and in his own words: “the hypnotic mask between the rocks – the blackberry eyes -, without realising I have always been painting them. The curve of the mountain looks like the mound from where the head of Goya’s dog emerges”. In 1950 he presents his first exhibition of a personal nature in the Zaragoza bookshop, of his experimental series of work created during his lengthy illness: Constellations and Rayograms. In 1951 and 1952 he exhibits his work dreams and surrealists in the Buchholz bookshop of Madrid. He also creates the Landscapes series, publishes the poetic text Programio and visits Paris for the first time. During this period he lived in both Cuenca and Madrid, where in 1953 he exhibited with the “Tendences” group. He also participated in the “Fantastic Art” exhibition at the Clan Gallery. In 1952 he moved to Paris. There his work became influenced by artists such as Miró or Man Ray. He creates paintings on fabric and organic paper using diverse techniques. A break from the surrealist group enables him to open himself up to other creative channels where he begins to demonstrate the evolution his work is undergoing as he moves towards instant painting with gestural brushstrokes and a selectively reduced palette where informalism experiments with suggestive expressions of line and colour. The series Phenomena and Grattages belongs to this time, as well as his first paintings based on the structure of the female body. In 1954, he marries Madeleine Augot. In 1956 his financial circumstances force him to return to Spain. In the February of this year he presents a collection of his work in the shape of an anthology at the Madrid National Library, as well as the first Damas (Ladies) created exclusively in black and white. At the same time he begins the series Heads and Self Portraits, while continuing his quest for the female icon based on the primitive roots of Neolithic art from Africa and the Far East. Upon his return to Spain, Saura warns of the continued backwardness of the country, particularly on a cultural and artistic plane, and he feels driven to transform this reality and, together with other artists with similar artistic and intellectual concerns, he founds the “El Paso” group in February 1957, a movement essential to understanding the evolution of Spanish art as well as Saura’s trajectory. During these years (1957-1960) he completes the first paintings from his Crucifixions series, imaginary Portraits – amongst which are those dedicated to Brigitte Bardot – and which includes those that will become constants in his work: Rembrandts, Goyas, Shrouds or Crowds. En 1958 he participates in the biennial exhibition in Venice in the company of Eduardo Chillida and Antoni Tàpies. Antonio Saura, Manuel Millares and Carlos Saura, 1959
In 1959 he publishes his essay Space and expression and the Pintiquiniestras file, album of sixteen lithographs about texts by Camilo José Cela. At the same time he completes a series of works on paper: Accumulations, Narrations and Repetitions which show the special relevance he is beginning to attain, with both painting on paper and graphic art, from this moment on. During this year he exhibits with Antoni Tápies for the first time at the Van de Loo Gallery (Munich) and participates in Kassel’s “Documenta II”. In 1960 he receives the Guggenheim award; he begins his Ladies, spaces and Profiles and hats series; he abandons the exclusive use of black and white and completes a number of sculptures. In 1961 his first exhibition at the Pierre Matisse Gallery in New York takes place. In this city he will come to know Les demoiselles de Avignon and Guernica, as well as important figures in American expressionism such as Motherwell, De Kooning or Rothko. Saura’s artistic production in 1962 centred around his first etchings and serigraphs, as well as the series of satirical drawings and paintings entitled Lie and Dream. His daughter Elena was born this year. In 1963, as well as exhibiting some of his work on paper in European and South American museums, he designs the sets for the play The House of Bernarda Alba, staged for the first time in Madrid under the direction of Juan Antonio Bardem. In 1964 he once again exhibits at the Pierre Matisse Gallery in New York. That year he receives, together with Chillida and Pierre Soulages, the Carnegie Prize, whose objective was to “facilitate the confrontation between American artists and European painting and, in so doing, help these artists in their quest for their own identity and, at the same time, contribute towards an understanding between the nations.” Antonio Saura was received by critics as “one of the most promising figures in Spanish art, obtaining the 3rd prize in painting for Imaginary Portrait of Goya”. He also completed a series of sixteen colour lithographs entitled History of Spain, and the Stedelijk Museum of Amsterdam exhibits his first retrospective of painting on paper and graphic works, thereafter exhibited at Baden-Baden and Guttenberg. He works on the creation of fourteen stained glass windows for the Jordanian Pavilion at the New York International Fair and also participates in Kassel’s “Documenta III”. In 1965, he destroys close to a hundred paintings in Cuenca. During 1966 he exhibits at the Institute of Contemporary Arts in London; he begins the Woman-chair and Imaginary Portraits series of paintings; and he pays his first visit to Cuba, where there is an exhibition of his works on paper at the Casa de las Américas in La Habana. He receives the Lugano “Bianco e Nero” biennial prize for engraving.
In 1967 he settles in Paris, although he still works and spends every summer in Cuenca. He exhibits his Women-chair and Imaginary Portraits at the Stadler Gallery. With regard to his artistic activity, it is at this time that he begins the series Imaginary Portraits of Goya and Goya’s Dogs, at the same time as, in yet another catharsis, he destroys a further hundred canvasses in Cuenca. From 1968 onwards he abandons oils on canvas for ten years, dedicating himself exclusively to his work on paper. He pays his second visit to Cuba and participates in the “Cultural Congress” held in La Habana. In 1969 the editor Gustavo Gili publishes the first general monograph on his work with text by José Ayllón.	At the back, Antonio Saura, Luís Buñuel, Emilio Sanz de Soto, Mario Camus and Carlos Saura. On the floor, Alberto Portera and José; Ayllón. Chinchón, 1962.
He spent the greater part of 1970 in La Habana and in 1971 he completed, in the Centre Genevois de Gravure Contemporaine, the lithographs and a series of drawings to illustrate the book Trois visions de Quevedo. He similarly developed various repertoires of serigraphs: The King, Remembrandt and Le Chien de Goya. He marries Mercedes Beldarraín in Cuba. . Between 1972 y 1975 he completes various series of Boxes and Superpositions, as well as the large montages Trompe-l'œil, Metamorphosis and Puzzles. In 1972 during the retrospective exhibition of his work on paper at the Juana Mordó Gallery (Madrid), a terrorist attack by an extreme right group takes place. In Rome he publishes a book about his crucifixions, with text by Enrico Crispolti. En 1973 participa en el “Congreso Mundial de la Paz” celebrado en Moscú. Continúa trabajando en las series Superposiciones, y el Colegio de Arquitectos de Santa Cruz de Tenerife acoge una muestra antológica de su obra sobre papel. In 1974, a retrospective exhibition of his work on paper is held at the M-11 Centre in Sevilla. The workshop in Paris where he worked since 1966 is destroyed. In 1975 Antonio Saura’s work was exhibited in the Maeght Gallery of Barcelona and, for the first time, he travels to Mexico where he exhibits in the Juan Martin Gallery. During 1976 he essentially works on lithographs on zinc, in the Clot, Bramsen & Georges workshop in Paris and creates the series of serigraphs entitled Moi, edited by Gustavo Gili. He participates and forms part of the organising committee for the Venice Biennial Exhibition. In 1977 he is deported from France although, thanks to numerous protests and manifestations of support, the measure is revoked. With regard to his artistic work, he completes the Burning Bed or Famous Loves, an illustrated book with twelve etchings; he participates in Kassel’s “Documenta VI” and begins the regular publication of his writing in different media. In 1978 he takes part in the “First South American Meeting of Art Critics and Plastic Artists” in Caracas and publishes Notes for a discussion. He exhibits a collection of his most recent work at the Fondation Nationale des Arts Graphiques et Plastiques, in Paris. He begins to once again paint with oils on canvas, completes a number of unique editions of books and takes part in different seminars and symposia on art and culture. The Stedelijk Museum of Amsterdam organises in 1979 a retrospective of his work from 1948 onwards, curated by Ad Petersen. The exhibition subsequently travels and is presented in the Kunsthalle Gallery of Düsseldorf, the following year at the Casa de Alhajas in Madrid and lastly, at the Fundación Joan Miró in Barcelona. He receives the Prize at the First Biennial of European Engraving of Heidelberg. A fire at his home in Cuenca destroys part of his archives and his collections. In 1981 he completes an anthological exhibition of his work on paper in Zaragoza. In Paris he is named “Chevalier de l’Ordre des Arts et des Lettres” by the French Minister for Culture. In 1982 the Museum of Contemporary Art of Madrid organises an itinerant exhibition of his graphic work, which will be shown in various cities of Spain. Publication of the petition entitled Against Guernica. He receives the "Medalla de Oro de Bellas Artes" from King Juan Carlos. Wiht Cortazar. Diciembre de 1977
In 1983 he paints and exhibits at the Stadler Gallery the first series of work inspired at Dora Maar. He designs the set for the ballet Carmen, by Antonio Gades and Carlos Saura, for the Théâtre de Paris, as well as the Peixos Abissals of Joan Baixas for the La Claca Theatre in Barcelona. In Paris he presides on the organising committee of “Artistes du monde contre l’apartheid”. José María Berzosa makes a film-documentary for French television about the work of Antonio Saura: Quelques reveries d’un promeneur solitaire ou presque. His daughter Elena dies. In 1984 he begins the series of Auto de fe series of paintings, carried out on the inside of book covers. In 1985 he completes a collection of large acrylic oil paintings which will be exhibited at the Abbey of Sénanque in Gordes and the Abbey of montmajour in Arles. He holds a course at the “actual art workshop” of the Fine Arts Circle of Madrid. He creates the sets for Woyzeck directed by Eusebio Lázaro in Madrid. He completes Die Mauer, a unique book, of superpositions. The Cabinet des Estampes of Geneva presents a retrospective of his graphic work and the first detailed catalogue of printed work is published by Mariuccia Galfetti. In 1986, the Neue Galerie-Sammlung Ludwing in Aachen organises a retrospective exhibition of a thematic nature. Together with Guy Scarpetta and Antonio Urrutia he co-directs the seminar “Art and Evil” at the Universidad Internacional Menéndez Pelayo of Sevilla. In 1987 he works on the work Elegy, a 20 x 10 m painting destined for the ceiling of the Huesca Council, the preparatory drawings for which were shown in an itinerant exhibition. He also chairs the seminar “Re-encounter with El Paso” at the Menéndez Pelayo International University of Cuenca; he illustrates an edition of Quijote for the Book Club and publishes the collective work Figure and Background. In 1988 he completes the 69 lithographs that illustrate the Tagebücher by Kafka. At the same time, he publishes Elegy with a preface by Guy Scarpetta and photographs by Jean Bescós. And Francisco Rico edits The Illustrated Painter, a collection of poems dedicated to the painter. On the hand he also co-chaired the seminar “Sex and Art” at the Menéndez Pelayo International University of Sevilla. In 1989 a number of exhibitions of an anthological nature are held about the work of Antonio Saura: the Wiener Secession presents a sample of his work on paper in Vienna; at Harvard University an extensive collection of his production is exhibited; and the Musée d’Art et d’Histoire of Geneva. Exhibits a retrospective of a thematic nature of his large canvasses painted between 1965 and 1985, exhibition curated by Rainer Michael Mason, who a year later was presented with the IVAM of Valencia, at the Queen Sofia Art Centre of Madrid, the Lencachhaus in Munich and the Réfectoire des Jacobins of Toulouse. He begins to paint again after a cataract operation on his eyes. In 1990 he is named Officier de l’Ordre des Arts et des Lettres. He holds a drawing course at the Fondazione Antoni Ratti of Como and, with Guy Scarpetta, he co-chairs the seminar “Writing as painting”, once again at the Menéndez Pelayo International University of Sevilla. Conmemmorating his 60th birthday, the UIMP of Cuenca and the Book Club organise an exhibition of his illustrated books. In this context the book Death and Nothing is published, with text by Jacques Chessex and illustrations by Antonio Saura. His daughter Ana dies. In 1991 the Councils of Huesca, Zaragoza and Teruel organise a retrospective exhibition entitled “”Decennial”, which will subsequently be presented at the Palau de la Virreina in Barcelona and the Palacio Almudí in Murcia. Retrospective exhibition dedicated to the Portrait books of Antonio Saura and The Temptations by Antonio Saura (texts by Julián Ríos). He completes the illustrations for Poetry and other San Juan de la Cruz texts. He participates with Carlos Saura and Luis García Navaroo in the set design for the opera Carmen for the Staatstheater in Stuttgart. In 1992, he conceives the exhibition "Goya’s dog" in the Salas del Arenal of Sevilla and in the Museo de Bellas Artes of Zaragoza. The Book Club organises the exhibition “Antonio Saura and the books of his life” which will be presented in Madrid and, subsequently, at the Cervantes Institute of Paris and at the Sala de la Corona of Aragón in Zaragoza. Publication of Note book (Memoir of the time), theoretical compendium of the subjects most used in his artistic trajectory, in the shape of a “personal inventory” where he clarifies and reflects upon the most significant concepts in his work. In 1993 he designs the set for El retablo de Maese de Pedro, by Manuel de Falla, for the Zaragoza Ballet. Publication of the Belvédère Miró. As a result of a hip operation, he remains inactive for several months.

In 1994 The Lugano Museum of Modern Art organises a retrospective of his pictorial art between 1948 and 1990. This same year the work from his youth is exhibited in the Museum of Teruel: dreams and surrealists curated by Emmanuel Guigon. He recieves the Premio Aragón a las Artes. He completes a series of 365 drawings and paintings on paper entitled Nulla dies sine línea, work conceived as a unitary collection that associated news from the daily press with respective pictorial work and which Antonio Saura aimed to leave with the foundation in Cuenca. In 1995 the work The adventures of Pinnochio, by Collodi, illustrated by Antonio Saura and edited by the Galaxia Gutenberg/Book Club, receives the Best Book of the Year Prize eawarded by the Spanish Minister for Education and Culture. The artist also receives the Grand Prix des Arts de la Ville in Paris and the Liberté award, in Sarajevo. He works with his brother Carlos on the set design and staging of the opera Casrmen by Bizet at the Festival dei Due Mondi in Spoleto. The Antonio Saura Foundation is born in Cuenca from the initiative and the proposals of the Catalá brothers who became patrons of same at the express wish of the painter. The first statutes are drawn up and the notarised protocol signed for the creation of the institution. As well as a number of detailks concerning the functioning of the foundation, these documents encompassed the donations of work which Antonio Saura intended to proceed with as an initial contribution, amongst them “the collection of drawings called Nulla dies sine linea (1994) consisting of 365 drawings accompanied by the news items that inspired them”, according to the notarised document. In 1996 he curates the exhibition "After Goya, a subjective look", which took place at the Palacio de la Lonja and the Palacio de Montemuzo, in Zaragoza. In 1997 he exhibits a number of large format paintings at the Lelong Gallery in Paris – Crowds and Imaginary Portraits of Goya – and a new series of Portraits and Self-Portraits. In 1998 sall the books written or illustrated by Antonio Saura are exhibited in the Jenisch Museum of Vevey, including the bibliophile editions of which he was particularly proud. Antonio Saura passed away in Cuenca on the 22nd of July of 1998.		Preparing for the opera Carmen. Stuttgart, 1991

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