Permanent Collection

Miguel Ángel Campano

Madrid, 1948

Campano used automatic techniques in his painting until around 1973, when, influenced by Gustavo Torner and Gerardo Rueda, his work began to evolve towards a type of abstraction rooted in geometrical forms. Once he assimilated this style, he progressed towards a free, gestural manner, as can be appreciated in the present untitled work. In this painting, a geometrical grid of horizontal and vertical lines divides the composition, giving it an orderly appearance. However, gestural marks disrupt the strict pattern and give rise to a sense of tension. This work can be interpreted as a declaration of the artist's firm belief in painting, a conviction that is present in his entire oeuvre, which is characterized by sweeping gestural brush strokes, rich and intense enigmatic colors and large formats.

Untitled, 1979
Sin título, 1979

Campano's concern with issues relating to painting and its true purpose has led him to carry out diverse experiments. He has enquired into the nature of paintings by old masters —their gestures, objectives and ideas— and manifests an unrelenting faith in abstract expressionism as a pictorial language. Thus, several of his later paintings include speculations on the work of some of the great masters in the history of art. Far from imitating their work, though, Campano reinterprets their ideas from a contemporary perspective, thus striving to keep the flame of painting alive and to protect it from those who predicted the death of this genre and the rise of computer art.

Javier Maderuelo

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Catálogo del Museu Fundación Juan March, Palma de Mallorca.