Antoni Tàpies

Galerie Stadler, Paris

Galerie Beyeler, Basel

Acquired directly from the above by the present owner

The period between 1957 and 1960 is generally acknowledged as pivotal in Tapies’ oeuvre. It was during this time that his early studies into the meaning of matter as a development of Surrealism evolved into the canvas as a complete material form. Dating from 1957, Painting XIV is an outstanding early example of Tapies’ Matter Paintings. Enveloping the entire canvas, the distinctive coarse surface of sand and paint unites all areas of the composition, giving it a feeling of sculptural depth and material tension. Tapies’ material surface here becomes the structure, composition and subject of the painting simultaneously as matter becomes form. Unable to penetrate the space beyond the surface incisions, Painting XIV confronts the viewer with the artist’s lifelong search for the meaning of matter.

The earthy, material aesthetic of Antoni Tapies’ work is rooted in the European Art Informel movement of the 1950’s. The tactile, gradual accumulation of sand that he built up on the picture surface of the present work is dramatically corrupted with marks and scratches, lending to the work a sense of progressive destruction that is perfectly suited to its dark and mysterious organic surface. Characterised by its sense of muted energy and rawness of texture, the cuts and furrows have the appearance of primitive hieroglyphics or animalistic claw marks as they progress and fuse across the surface.

The dialogue between man, time and purpose that feeds this painting is enriched further by Tapies’ interest in the traditions of Medieval Catalan Mysticism: the passion that in turn led to the artist’s discovery of Oriental philosophies. Zen in particular and the monks’ use of walls as a means of inspiring deep meditation is particularly relevant to the material spirituality of Tapies’ material surfaces. Vulnerable and powerful at the same time the untamed execution and presence of Painting XIV epitomises Tapies’ spiritual quest. It seems to crumble and evolve outside of time like one of Brassai’s graffiti inscribed walls, its temporary strength and ultimate frailty becoming a powerful metaphor for the human condition.