Antoni Clavé i Sanmartí We have original graphic work (prints), engravings, lithographs and serigraphs (engravings, etchings, lithographs, serigraphs) of this artist.
(Barcelona, Spain, April 5, 1913 - Saint-Tropez, France, August 30, 2005) was a Spanish painter, printmaker and sculptor. In 1930 he entered the Barcelona School of Art, where he stayed for two years. After finishing his studies, he began his work as a poster artist and achieved great success in the world of cinema. He also collaborated in the magazine "Pocholo" (Vives, 1931).1 At the end of the Spanish Civil War he went into exile to France, holding his first exhibition in Perpignan in 1939. Later he moved to Paris, where he lived until 1956, the year in which he moved to Saint-Tropez. In Paris he began his career as an illustrator and theater decorator. His early pictorial works were influenced by authors such as Édouard Vuillard and, above all, Pierre Bonnard. Residing in the French capital, Clavé's work is often enrolled in the School of Paris together with that of other artists such as Pablo Picasso, Juan Gris, Joan Miró or Antonio Saura. In 1944 he met Picasso personally, beginning a friendship that lasted until the death of the painter from Malaga. From that date, Clavé began to develop a work with a different and less classical plastic. In the 1950s he began an intense work in the world of ballet and theater, using mannequins and achieving fame in the world of international scenography. At the same time he began a work of illustrations of the work Gargantua and Pantagruel that led him to become familiar with a medieval iconography that he developed in his series on warriors, kings, queens and knights. Initially, these characters were represented with a certain realism, but as time passed they gained in abstraction within the evolution of Clavé's pictorial work. The figures were losing precision and shape, giving way to the line and a personal range of colors and textures as the main protagonists of his works. In 1952 he participated in the film Hans Christian Andersen (The fabulous Andersen) by director Charles Vidor, being responsible for the sets (along with Richard Day and Howard Bristol) and costumes (along with Mary Willis and Barbara Karinska), working for him who was a candidate for the Oscar Award. In 1954 he abandoned decoration to dedicate himself to painting. In the 1960s he paid a tribute to El Greco. At this time his works reflect the influences received from the classics and Baroque authors. The theme of the knight with his hand on his chest takes special relevance, a reference that will be repeated in Clavé's future works. This period is characterized by the definitive transition to abstraction. In the 1970s the evolution of Clavé's work continued, using various techniques such as collage, inventing new techniques such as papier froissé, the result of a technical accident in the use of aerosol on crumpled papers. In 1978, the National Museum of Modern Art in Paris, now the Georges Pompidou Center, dedicated the first retrospective that made Clavé one of the most prestigious artists of his generation. In the 1980s he dedicated a series of works to Picasso under the title A don Pablo. His latest works are characterized by the recreation of textures within abstraction, with a profuse use of papier froissé. In 1984 the Spanish State recognized his artistic value with the exhibition of more than 100 of his works in the Spanish pavilion at the Venice Biennale. That same year he was awarded the Gold Medal of the Generalitat of Catalonia.