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In this very austere work from his last period, the painter presents a construction defined by the tension between elementary geometric shapes, two rectangles, and the texture of two different types of superimposed paper. On wood, the larger rectangle painted on handmade paper made by the painter himself, with a rough and irregular texture, interacts with the cinnabar red paint that defines the rectangular shape. In the lower half, glued on top, is a second black rectangle also painted on a different, very fine paper, which filters and translates the irregularity of the texture that serves as its base. <\/p>\n\n
(1935, Toledo, Spain)<\/strong><\/p>\n\n The work belongs to a mature period in the career of Canogar, a historic figure in the Madrid group El Paso, part of a generation of Spanish painters who, in the 1950s, in the midst of Franco’s military dictatorship, adopted abstract expressionism and informalism as an affirmation of individual personality and a way of confronting the totalitarianism of the Franco period (1939-1975) that controlled Spanish society. <\/p>\n\n Nascut com Rafael Garc\u00eda Cano G\u00f3mez, va canviar el seu primer cognom per Canogar<\/strong>, cognom que li va ser reconegut legalment i que ha transm\u00e8s als seus descendents. Deixeble de Daniel V\u00e1zquez D\u00edaz<\/strong> (1948-1953), a les primeres obres va trobar la manera d’assolir les avantguardes i, molt aviat, estudiar profundament l’abstracci\u00f3.Va usar inicialment una t\u00e8cnica escultopict\u00f2rica: amb les mans esgarrapava o espremia la pasta que feia vibrar sobre fons de colors plans. Era una pintura on el gest inicial surt directament del cor. En aquest punt Canogar<\/strong> va encarnar el millor de la pintura mat\u00e8rica.