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58th Venice Biennale: May You Live In Interesting Times Ocula Report 58th Venice Biennale: May You Live In Interesting Times 24 May 2019 : Mohammad Salemy for Ocula

The 58th Venice Biennale, May You Live In Interesting Times (11 May–24 November 2019), certainly benefitted from low expectations, given the lacklustre curatorial of the previous edition, when different segments of the show were conceptually framed with titles like 'Pavilion of Joys and Fears' and 'Pavilion of Colours'. Add to this the...

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Zheng Bo Ocula Conversation Zheng Bo

Hong Kong-based artist Zheng Bo's social, ecological, and community-engaged art practice has, in recent years, focused on moving beyond a human-centred perspective to an all-inclusive, multi-species approach. He takes up marginalised plants and communities of people as subjects in his large-scale interventions, which reintroduce wildness into...

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Auckland Art Fair 2019: Conversations Extended Ocula Report Auckland Art Fair 2019: Conversations Extended 24 May 2019 : Sherry Paik for Ocula

The weather was clement for the annual Auckland Art Fair (2–5 May 2019), which was again at The Cloud on Queens Wharf. This year's edition was a get-together of 41 galleries, mostly from around Auckland and across New Zealand, with 5 spaces hailing from Sydney and the rest from Cook Islands (Bergman Gallery), Hobart (Michael Bugelli Gallery),...

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Antoni Tàpies

(1923 - 2012), Spain

Antoni Tàpies was an influential Catalan artist and art theorist whose sculpture, etchings, lithographs and highly textured mixed media paintings can be found in major collections around the world. His numerous essays on art have been collected in a series of internationally disseminated publications.

From 1944 Tàpies studied law at the University of Barcelona. Aside from evening classes in drawing at Academia Valls during his legal studies, he was a self-taught artist. He first encountered contemporary art as a teenager reading the Barcelona-based magazine D'ací d'allà.

In 1946, the year after producing his first impasto works, he abandoned his studies to paint full-time. Initially using Surrealism and Primitivism as stylistic inspiration, he produced both abstract and figurative paintings and used collage to create crosses out of scraps of newsprint and toilet paper—an echo of his Catholic education.

In 1948 the fledgling artist helped found the Surrealist-influenced avant-garde group Dau al Set. His works in this period were heavily influenced by Joan Miró and Paul Klee and depicted monstrous and deformed figures and abstract linear patterns set in bizarre landscapes. The colour, light and shadow of these works generated mystical atmospheres. The artist held his first solo exhibition in 1950 at the Galeries Laietanes, Barcelona—a city that remained his personal and professional home although he travelled often.

In 1953, Tàpies turned his focus exclusively to abstraction and mixed media production. He was drawn to the style of Art Informel—one of the most prevalent art styles in post-war Europe—particularly after seeing the American equivalent (Abstract Expressionism) during his first New York solo exhibition at the Martha Jackson Gallery.

Much of the work for which Tàpies was stylistically recognised sought to undermine traditional fine art through a focus on odd materials, as could be seen in his incorporation of sand, soil, clay and marble dust in his paint, and his inclusion of discarded materials such as paper, string and rags. Tàpies used these materials to create dense wall-like surfaces that seemed blank and monochromatic but were rich in textural patterns. Texture became his hallmark, featuring in most of his mixed media works.

Influenced by Pop art in the late 1960s, the now internationally recognised artist began to incorporate more substantial objects from his surroundings, crossing into the territory of Art Povera. In his 1979 essay 'Nothing is Mean' Tàpies expressed his firm belief in the validity of the commonplace. These materials included anything from socks to pieces of furniture. The artist often utilised the bed in works such as Diptic nocturn (1993, mixed media on canvas) for its symbolic connections to life, love and death. Doors and windows also featured.

The boldest example of the artist's incorporation of furniture was the Tribute to Picasso on Passeig de Picasso, Barcelona, Spain (1981–1983). It consisted of modernist furniture pierced by iron bars and tied together with ropes and sheets, surrounded by a four-square-metre glass cube acting as a fountain. Tàpies carried these ideas through in large-scale monumental sculpture.

While seeking to develop abstract art that incorporated non-traditional materials Tàpies also explored social and philosophical themes. A strong sense of his Catalan identity ran through early-1970s works such as The Catalan Spirit (1971) and the lithograph series 'Assassins' (1974), which also reflected his political commitment to opposing Francisco Franco's fascist regime in Spain. In the late 1970s and 1980s he developed an interest in existentialist and Zen philosophy and the notion of the void. He started to produce works that meditated on emptiness and the materiality of life. In works such as Empreintes d'assiettes (1973) and Silhouette de baignoire (1982) he used the symbolic absence of material from everyday life, such as imprints left by a full table setting and the silhouette cast by a bath tub.

His later work—from the early 1990s to his death in 2012—increasingly carried references to pain (both physical and spiritual) and death.

Michael Irwin | Ocula | 2017
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Featured Artworks

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‘Frontisses’ (Hinges) by Antoni Tàpies contemporary artwork Antoni Tàpies‘Frontisses’ (Hinges), 2010 Mixed media on canvas
146 x 229 cm
Timothy Taylor
Chaussure by Antoni Tàpies contemporary artwork Antoni TàpiesChaussure, 1988 Mixed media on corrugated cardboard, mounted on canvas
200.5 x 139.5 cm
Galerie Lelong & Co. Paris
Boca, peu i creu by Antoni Tàpies contemporary artwork Antoni TàpiesBoca, peu i creu, 2004 Paint on paper
30.5 x 24.4 cm
Pace Gallery
Blanc sobre negre II by Antoni Tàpies contemporary artwork Antoni TàpiesBlanc sobre negre II, 1999 Paint on paper
51 x 64.9 cm
Pace Gallery
Cos i banyera by Antoni Tàpies contemporary artwork Antoni TàpiesCos i banyera, 1995 Mixed media on wood
220 x 270 cm
Galerie Lelong & Co. New York
Imprints on Ochre by Antoni Tàpies contemporary artwork Antoni TàpiesImprints on Ochre, 1966 Mixed media on canvas
146 x 114 cm
Ben Brown Fine Arts
Painting No. LXXXIV by Antoni Tàpies contemporary artwork Antoni TàpiesPainting No. LXXXIV, 1958 Mixed media on canvas mounted on wood
130 x 97 cm
Ben Brown Fine Arts
Cross on Brown by Antoni Tàpies contemporary artwork Antoni TàpiesCross on Brown, 1960 Mixed media on canvas
194.5 x 170 cm
Ben Brown Fine Arts

Current & Recent Exhibitions

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Contemporary art exhibition, Group Exhibition, Writings on the Wall at Waddington Custot, London
Open Now
17 May–30 June 2019 Group Exhibition Writings on the Wall Waddington Custot, London
Contemporary art exhibition, Manolo Millares, Antoni Tàpies, An Informel Step at de Sarthe, Hong Kong
Closed
29 March–12 May 2018 Manolo Millares, Antoni Tàpies An Informel Step de Sarthe, Project Space
Contemporary art exhibition, Antoni Tàpies, Temps, matière, mémoire at Galerie Lelong & Co. Paris, Paris
Closed
6 September–7 October 2017 Antoni Tàpies Temps, matière, mémoire Galerie Lelong & Co. Paris, 13 Rue de Téhéran

Represented By

In Related Press

The tender brutishness of Antoni Tàpies Related Press The tender brutishness of Antoni Tàpies Apollo Magazine : 6 March 2017

For a long time, the art of Antoni Tàpies (1923—2012) has succeeded in being all things to all people: he is an Abstract Expressionist to some and a conceptualist to others; feted here for his mysticism and there for his materialism. The works currently at Timothy Taylor are no less contradictory. They find the artist at his most personal and...

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The tender brutishness of Antoni Tàpies Related Press The tender brutishness of Antoni Tàpies Apollo : 2 March 2017

For a long time, the art of Antoni Tàpies (1923–2012) has succeeded in being all things to all people: he is an Abstract Expressionist to some and a conceptualist to others; feted here for his mysticism and there for his materialism. The works currently at Timothy Taylor are no less contradictory. They find the artist at his most personal and most...

Read More
MoMA Takes a Stand: Art From Banned Countries Comes Center Stage Related Press MoMA Takes a Stand: Art From Banned Countries Comes Center Stage The New York Times : 3 February 2017

President Trump's executive order banning travel and rescinding visas for citizens of seven majority-Muslim nations does not lack for opponents in New York — from Kennedy Airport, where striking taxi drivers joined thousands of demonstrators, to the United Nations, whose new secretary general, António Guterres, said the measures 'violate our...

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