Spanish Informalism

Falla i Fusta, 1969 (Antoni Tàpies)

Tr. Spa-Eng. from a review by qachi54

 Informalism in Spain. 1945. After the Civil War, the deterioration in most of the centers dedicated to Art was enormous, but the desire for renewal allowed the penetration of new art forms, particularly in Catalonia. In 1948 the group Dau al Set is formed grouping individuals with similar concerns and interest in the same subjects. Tarrats, Tàpies, Cuixart and Ponç and writers Brossa and Puig. J.Cirlot joins this group in 1949 . With influences of Dadaism, Surrealism and other avant-gardes (see articles on them), they published a magazine, a clear example of integration of all the arts. 

Tàpies worked with neon lights and warm colors, with characters that referred to a fantastic surrealist imagery, through which the artists were able to break with tradition to create something truly innovative. They began to experiment with new materials and techniques. In 1952, Tàpies resolutely turned into materic informalism, used mixed procedures with dense materials of rough and rugged appearance, blending marble dust with glue and pigment powder. After placing it on the bottom, he worked with collage or gratttage (raspado). Complex textures with reliefs appearance. Non-figurative work, it shows some signs, graphics, spots or dripping in some areas to become focus of attention. Earth tones, dirty white. In the late 50's he added black, but almost never pure. By 1962-3 he integrates elements of daily life to materic painting . At the end of the decade he is close to the Arte Povera.

 He starts a decontextualized objects stage. The handling and changes of these objects (straw, sheets, rags, paper) become a constant. Reflection is imposed on execution. After this period, Tàpies returned to painting in the early 80's. 

 Modest Cuixart, the same way as above, with neutral colors or dark ranges, obtained rather thick surfaces of glossy quality. Since 1955 frameworks disappear and he makes more regular configurations, which, disc-shaped, cover certain points on the surface. He opens the palette to more saturated tones that contrast with the metallic ones. He then returned to figurativism. 

 In Madrid, in 1957, the group El Paso is set up, with Rafael Canogar, Manolo Millares, A. Saura, the most prominent. They make exhibitions with great impact. Although they are informal, they have nothing to do with the group in Catalonia. Gestural language prevails in this group. From Manolo Millares, the paintings on restitched burlaps stand out, with colors totally restricted. His paintings produce an intense restlessness and respond to a piercing vision of the world. In 1960 he dissolved the group and almost all gradually returned to figurative paintings.