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Miguel González de San Roman

Miguel González de San Roman

Abstract expressionism that specializes in the pictorial matter is extensive development but not a definition. This dialectic between gesture and space, the instinctive impulse of graphs helps define or delimit a specific spatial ambience that is limited in its immensity by the frame
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The pictorial calligraphy Of Miguel González de San Román

Until 1976, the pictorial trajectory of Miguel González de San Román (Vitoria, 1952) was characterised by the accumulation of ideas, concepts and theories. During that inicial period of apprenticeship of the accumulation of knowledge and experiences, little by little he acquired the resources necessary to deploy the mark of an increasingly personal art. Nonetheless, it was a period in which he was still publicly recognised as possessing a disproportionate capacity in terms of theoretical reflection, and artistic pedagogy.

His first works are figurative pieces. They exhibit a solid register, both in the treatment of the human representation as well as in the landscape. But from a stylistic point of view, it was in the North American abstract expressionism, more than in its European counterpart, that this Vitorian artist was to encounter some possibilities for truly personal expression. During his years at university, at that particular moment in time, he developed an aformal enriched expressionism with timid material vestiges. As well as the North American abstract expressionism, another of the inluences which are essential in order to understand the evolution of this artist, is his sincere devotion to certain principles of oriental philosophy-, above all, Zen philosophy, principles or contents which maintain an intense union with contemporary artistic praxis.

The creative capacity of the artist is no longer subject to external, apparent, or phenomenal referents. Instead, it begins to attribute itself to the unconscious, to the instinctive mechanism of the mind, the source of all the creative process. The artist?s thoughts and the very act of painting practically become mechanisms of a simultaneous action. One of the fundamental characteristics of this painter, is that of integrating the calligraphic expression of gestural connotations and certain rational or conceptual elements, into one single space.

On immersing himself into the sphere of the abstract, in the expressive atmosphere of the non-figurative, it may also appear that a distancing from the exterior reality, from nature, takes place, but this is not the case. Nature continues to be the main source of inspiration in the work of González de San Román. Another very different thing is that all abstract process implies, as a result of its own internal dynamic, a task of selection and synthesis; that is to say, the artist holds on to the contents which seduce him the most, which attract him, whereby the artist proceeds to reject or eliminate everything that is not useful or necessary in these specific moments. Therefore, nature is present as a model more than ever. Both nature and man.

In 1990 he publishes his doctoral thesis, El fruto de la almendra, (The fruit of the almond), an original study about signage in the medieval old town of Vitoria-Gasteiz, work that obtained the Price Euskadi to the best bibliographic edition that same year. His evolution is notorious, and perceptible, with noticeable qualitative changes. If, in the early stages of his career, he chose to combine gestual and instinctive forms which emanate from the mind with conceptional racional resolutions which translate into geometric forms and approaches, thereby combining gesture and geometry on canvas, he then proceeded to gradually give greater importance to the purely pictorial nuances, to a type of expressive-abstract formulation, as had been done in the past, but this time he increased the lyrical and sentimental values of the compositions. The subjective stamp, the "I" creator, as a result, became much move evident.

What is more, even though the gestural modulations persisted, what remained the same, the strokes of shapeless colour executed by the nervous spontaneous movement of the hand, a feature which has be-come the "tour de force" of the work of the Vitorian painter, rests in the expressive unconventionality of a spatial essence. That is to say, a spatial abstract expressionism, in which the pictorial material is extensively developed, but is not a deinition. Amidst this dialect between the gestural and the spatial, the instinctive beating of the graphs helps to deine or to delimit a speciic spatial orientation that is preserved in its immensity by the stretcher of the work.

To form-colour, we may incorporate another dialect which is interdependent or is closely related to it: form-void, a dialect which contributes to the deining of González´s most recent work. "Horror vacui", which is so characteristic of Western art, and of its artist who are only too willing to occupy or fill everything, including the most minute reticle of the pictorial support, with forms and colour, is not accentuated by Miguel González de San Román. He has again exited unscathed from the melee with one of his most stable and long-lasting formative constants: put in another way, "the modus operandi" of Oriental calligraphy and all of its present and traceable ideologies in the different abs-tract movements of an expressionist mould, in existence in Europe and North America for over half a century.

Santiago Arcediano Salazar
Historien d?Art


Brief biographical details

Bachelor of Fine Arts, 1976.

PhD courses, 1985.

PhD in Fine Art, 1988

Prize for the Best Basque Country Book, 1990. PhD Thesis.

Graduate in Psychology, 1982

Studies in Photography, Silk-Screen Printing, and Computer Graphics

Professor of Drawing, 1980

Leave on personal grounds, 1990

Painting awards in different national localities

First Prize of Basque Painting and Sculpture, 1976

Director of uncountable courses and conferences on Art, Visual Communication, and Signage.

Institutional Artistic Consultant in the Department for Culture of the Basque Government

Consultant at Museums of Fine Arts in Alava

Consultant at the Town Hall and other institutions

Creator of books on art, image, and city

National Alimara Awards and international Donside Award in London, 1997

Museography Projects

Installation of cultural exhibitions in galleries and Museums.

Numerary Member of the "Royal Society of Friends of the Basque Country"

In the plastic arts field, his artistic projects are essentially made in the Basque Country, with exhibitions in important

art galleries and Museums, among which we should stand out:

Valera Gallery. Bilbao.

Recalde Gallery. Bilbao.

Luis de Ajuria Hall. Olaguibel Gallery. San Prudencio Gallery. Dendaraba Gallery. Vitoria Gasteiz

Oihanederra Hall. Old Water Tank. Vitoria.1998

Pamplona?s Ciudadela

Caja de ahorros de Bilbao. San Sebastián.Vitoria. Pamplona

Bilbao Savings Bank. San Sebastian. Vitoria. Pamplona.

Individual exhibition, San Telmo Museum. San Sebastian.

Individual exhibition, Bilbao?s Modern Art Museum

Individual exhibition, BBAA Museum, in Vitoria.

National and international fairs, usually related to Basque painting:

Eusko margolaritzan. Platz Gallery. Prague. 1978

Basque Culture. Gernika.

Arte Iberia.

Eusko Astea. Kulturgintza. Bilbao.

Arte Eder 81. From reality to abstraction. 82. 83.

Institutional Grant for Art Research. 1980

New York Biennale, 1981

1st Exhibition of Basque American Art. USA. 1981

Self-portraits in Basque Painting 1983.

Arco 86. Sedohial Gallery.

Milan Art Fair.

Bologna Art Fair.

1st, 2nd and 3rd Exhibition of Contemporary Art. 20th century. Marbella. 1992, 1993, 1994.

Biennale of Painting on Paper. Bergamo. Italy

Works at private collections, museums, galleries, and public institutions.

Works at the Basque Government, Provincial Councils, City Councils, Banks, and Saving Banks

Works at foundations like Banco Hispano Americano, Banco Urquijo, Caja Laboral, and Caja Vital de Alava.

Latest singular works:

2005. Mural painting on canvas. Title: Tríptico de las Luciérnagas (Glow-worm Triptych). 2.80x 5.40 metres.

ARTIUM MUSEUM

2006. Mural painting on canvas. Title: 66º norte (66º North). 2.80 x 6.80 metres.

VITORIA-GASTEIZ CONGRESS PALACE

2007. Mural painting on glass for sublimation. Title: Trazos sobre el crystal (Lines on glass). 2007. 20 pieces

in installation of 3.00 x 1.80 metres.

CORPORATE CENTRAL OFFICE OF CAJA VITAL.

Future singular projects:

2008

Mixed mural in the High Technology Clinic ?Pedro Anitua?.

Altarpiece for the Parish Church of Santa Clara of 6x6 metres. Vitoria Gasteiz.

Mural for the reception hall of the Provincial Council of Alava. 3 x 24 metres.

Shangai Art Fair 2008
Miguel González de San Roman
 
Miguel González de San Roman
 
Miguel González de San Roman
 
Miguel González de San Roman
 
Miguel González de San Roman
 
Miguel González de San Roman
 
Miguel González de San Roman
 
El Salto
San Román. Acrylic resins, support...
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Estrella de Mar
San Román. Acrylic resins, support...
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Jardín de Ryogen-in, Kyoto
San Román. Technique: Mixed and...
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Jardín de Toji-in, Kyoto
San Román. Technique: Mixed and...
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Katla. Islandia
San Román. Technique: Resins and...
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San Román. Support: paper manual...
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San Román. Support: paper manual...
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San Román. Support: paper manual...
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San Román. Support: paper manual...
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San Román. Support: paper manual...
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San Román. Support: paper manual...
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San Román. Support: paper manual...
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San Román. Support: paper manual...
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San Román. Support: paper manual...
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F. Gris
Miguel González de San Román....
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Manchas Rojas
Miguel González de San Román....
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AM de Alquimia
Miguel González de San Román....
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Cielo Violeta
Miguel González de San Román....
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Vitrubio
Miguel González de San Román....
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La Luz al lado
Miguel González de San Román....
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