Manolo Valdés

Galeriá Marlborough, Madrid
Acquired directly from the above by the present owner in 2003

Colour: The colours in the catalogue illustration are fairly accurate, although the white tends more towards a soft cream, and the blue tends more towards a bright, electric blue in the original. Condition: This work is in very good condition. All surface irregularities are in keeping with the artist's choice of medium and working process. No restoration is apaprent when examined under ultraviolet light.
"In response to your inquiry, we are pleased to provide you with a general report of the condition of the property described above. Since we are not professional conservators or restorers, we urge you to consult with a restorer or conservator of your choice who will be better able to provide a detailed, professional report. Prospective buyers should inspect each lot to satisfy themselves as to condition and must understand that any statement made by Sotheby's is merely a subjective, qualified opinion. Prospective buyers should also refer to any Important Notices regarding this sale, which are printed in the Sale Catalogue.
NOTWITHSTANDING THIS REPORT OR ANY DISCUSSIONS CONCERNING A LOT, ALL LOTS ARE OFFERED AND SOLD AS IS" IN ACCORDANCE WITH THE CONDITIONS OF BUSINESS PRINTED IN THE SALE CATALOGUE."

Recognised worldwide for his captivating large-scale paintings, Valdés is one of the most important Spanish painters of his time. With his work being honoured in a retrospective at the Guggenheim Museum of Bilbao, the year 2000 marked a time of artistic maturity in Valdés' life. The journey of his stylistic evolution began with his initial engagement with the Pop Art aesthetic of the Equipo Cronica, before embarking on a continued quest to re-invent the great artistic traditions of the past, developing his unique poetic style of appropriation.

With a distinctive re-evaluation of iconic imageries, Valdés pays homage to the masterpieces that have shaped Western cultural traditions, infusing the classical works from both the Old Masters and Twentieth Century icons with his contemporary vision. Through this alchemy of the past and present the artist is able to re-invent illustrious visual experiences, a translation invigorated by a deep appreciation and understanding for the detailed facets of art history.

Retrato de Lydia is a pivotal example of Valdés' rejuvenation of the traditional genre of portraiture. The stark geometric composition and distinct divide between the two halves of the female face recall the style of a cubist portrait, a look towards Valdés’ great predecessor Pablo Picasso and the great painter's own earlier variations of iconic masterpieces, such as Velázquez's seminal work Las Meninas. In their own right, both artists thereby evoked their own Spanish heritage, continuing the tradition of great Spanish painting.

Focussing on Valdés' synthesis of line and texture "it is undeniable that the main pole of attractions in the work of Manolo Valdés is balanced by matter" (Jose Manuel Caballero Bonald, Manolo Valdes: The Ritual of Matter, 1993 u.p.). The artist’s idiosyncratic painterly verve is expressed through a distinct compositional structure and arrangement of light and dark. Shaped by the tangibility of thick fabrics, his heavily layered composition has a collage like configuration. Abandoning bold colours in favour of a reductive palette of large black and white fields and strong lines, Valdés' demonstrates his inimitable aesthetic.