Permanent Collection

Jordi Teixidor

Valencia, 1941

Teixidor became acquainted with the artists from the Cuenca group early on in his career. He met Fernando Zóbel, Gustavo Torner and Gerardo Rueda through the Museo de Arte Abstracto Español in 1966, benefitting greatly from this association. Under the guidance of these artists he abandoned his initial incursions into pop art and immersed himself in the world of abstraction. His work in this field developed under the influence of various tendencies, including minimal art and the Supports/Surfaces group, until he was drawn to "pure painting," a trend based on the use of oil as a malleable and rich substance to be applied in vivid strokes. His serene canvases consist of large fields of color created through the application of small nuanced strokes arranged so closely together that they appear to vibrate. Though his works may seem simple at first sight, they soon prove to be emotional and passionate compositions, fashioned with brushstrokes that weave a plot that is brimming with lyricism.

"Pintura rosa y naranja" [Pink and Orange Painting], 1976
Pintura rosa y naranja [Pink and Orange Painting], 1976

Pintura rosa y naranja is an outstanding example of a style of painting that does not require a specific subject matter —the work itself suggests what it will reveal for the spectator to contemplate. In the present composition, Teixidor uses two square canvases of equal size. By placing them side by side, a vertical tangent line is highlighted. The artist then paints two additional vertical lines to demarcate a wide area in the center of the composition, thus endowing it with a sense of order. Two colors, pink and orange, generate a subtle progression of tones capable of producing a vibrating effect that moves along the canvas, from top to bottom and from left to right.

Javier Maderuelo

According to American critic Clement Greenberg, who was extremely influential in the period following World War II, for painters to be truly modern they needed to seek out the essence of the pictorial, which, in Greenberg’s opinion, lay in the flat nature of the canvas. He thus considered that painters should move away from all threedimensional illusions in order to exploit the qualities of the pigments, avoiding any narrative effect or literary allusion. Forty years later, when Teixidor painted this work, he appeared to remain faithful to Greenberg’s ideas, creating a pareddown type of painting that looks for serene beauty within plenitude.

Teixidor, however, has not remained mired in text-book modernism. As an artist who remains faithful to the essence of modern painting, he has learned and experimented extensively, creating extremely personal works characterized by the liveliness of the colors, the subtle nuances of the brushstrokes and the serenity of the compositions. The result is expressed in large fields of color that respond to the restrained geometrical structures that precisely delimit them.

"Altar mayor" [High Altar], 1990
Altar mayor [High Altar], 1990

The title Of the work, however, seems to refer to history, albeit to the history of painting itself. The words "high altar" bring to mind the large-scale altarpieces in which baroque artists experimented widely with colors And the effects of chiaroscuro. The succinct geometrical form that bites into The rich chromatic field at the upper edge of the painting offers the only reference To the title, although, in its minimalist essentialism, this flat form in the shape of a double T Is an abstract element devoid of any reference Or expressivity.

Javier Maderuelo

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