Julio Larraz Behind the Curtain of dreams - Ascaso Gallery
←
→
Transcripción del contenido de la página
Si su navegador no muestra la página correctamente, lea el contenido de la página a continuación
Julio Larraz ® Behind the Curtain of Dreams
Catalog No 19, 2019
Julio Larraz®
Behind the Curtain of Dreams
Miami, USA
November 2019 - January 2020
Exhibition Coordinator
Coordinador de exposición
Ascaso Gallery
Curated
Curaduría
Antonio G. Ascaso
Editorial Coordinator
Julio Larraz Studio
Coordinador editorial
del estudio Julio Larraz
Nelly Gomez
Texts
Textos
Flavio Arensi
Julio Larraz
Texts revised by
Corrección de textos
Henry Arrayago
®
Translation
Traducción
Pedro Leonardo González
Behind the Curtain of Dreams
Photographs
Fotografías
Don Queralto
Graphic design
Diseño gráfico
Zilah Rojas
Printed by
Impreso por
Editorial Arte
Copies
Ejemplares
1.000
Copyright of the printed works
Copyright de las obras reproducidas
Julio Larraz
ISBN: 978-0-9981125-9-6
@juliolarrazstudio
Hace quince años dejé a Julio Larraz en la Luna, en un ciclo pictórico especial que presentó en Italia. Ha
pasado mucho tiempo, para ambos, y nos encontramos juntos aquí en la tierra, me bajé después de estar cerca
de los cráteres de plata, como Astolfo, que fue a recuperar la cordura y devolvérsela a Orlando; fuimos y
regresamos con lo mismo, una sábana arrancada de las calles de Nápoles, ciertamente elegimos una solución
factible a una afirmación inverosímil, aunque poética. Por otro lado, gastamos más palabras para comentar
sobre una pintura, que para mirarla, para buscar el significado de una hermosa escultura que simplemente
para escucharla. Siempre es útil racionalizar, llevar por el camino correcto un acto deliberado que no puede,
no debe, escapar de los esquemas. Así, por ejemplo, The Curator (p. 16), que Larraz configura, está hierático
y sin rostro –lo uno equivale a lo otro– delante del gran shunga en el que el abrazo probablemente recuerda
la relación entre la crítica y el artista, y tampoco es fácil determinar quién hace qué cosa. Frente a la obra, la
interrumpe, quieto y erguido en el pedestal que recuerda un ambón eclesial, listo para comenzar su sermón
anónimo e irrelevante, cual sacerdote laico de una religión que tiene sus ritos y mitologías.
En estos quince años de separación, la Luna todavía está donde debería estar, pero aquí el mundo ha
cambiado, un poco como cuando te despiertas de un sueño y tomas la medida de la noche para encontrar
las señas de la habitación: unos pocos gramos de luz que se deslizan en las grietas de las persianas, la mesita
de noche o las desteñidas agujas fluorescentes del reloj de alarma que marcan los extremos conocidos.
Volver a la realidad significa observar la realidad; “The dream is over / ¿What can I say?”, cantaba John
Lennon, quien había vivido a ojos cerrados en sus Strawberryfields, él, que después de la aventura de Los
Beatles no tenía respuestas seguras. Hay un especie de afasia que salta a la garganta cuando te despiertas,
te frotas las pupilas y te das cuenta de que algo no encaja, que algo está sucediendo. ¿Qué decir? A veces
es tan deshonesta la realidad que puede llegar a parecer dulce, incluso necesaria, sobre todo la que parece
primordial, o mejor aún si es producto del destino. Aquí está el significado de The Heir (p. 17), que nos
recuerda un pasado no demasiado lejano ni demasiado ilustre, con un solo lugar geográfico o con una nación
específica; con sus lustradas y bien definidas botas negras, calvo y arrogante como cualquier dictador que
tiene el favor de la gente, la soledad casi etérea en la que se desarrolla su coreografía pública, es, de hecho,
una advertencia más que un deseo. En estas pinturas, que cubren una década de trabajo, Larraz toca varias
veces con preocupación el tema de la libertad, comenzando en La Habana 1956, Portrait of the Artist as a
Young Man (p. 19), donde la referencia a Stephen Dedalus de James Joyce subraya el deseo de emanciparse
de todas las implicaciones y ataduras del contexto social y de la familia, para ser simplemente un artista. Esta
libertad es fundamental en el crecimiento de cada individuo, y está en constante peligro cuando se mide
con la transformación de cualquier pensamiento en un acto de fe al cual asociarse pasivamente. En Canto
Confesante (p. 67), el punto focal no es la imagen del militar que aparece al frente de la arena, sino la sombra
oscura del mantis, que se convierte en su objetivo correlativo. Ofrecemos siempre una representación de
lo que nos gustaría que vieran los demás, nos presentamos como parte de un mecanismo aceptado y por
4 5
lo tanto seguro, donde la propaganda aún dirige las conciencias a pesar del pasado, a pesar de los males del para inducir al respeto. Pero es el pequeño hombre en su cabeza Bronze Care (p. 15), el hombrecito que le da
pasado. Edward L. Berneys escribió en 1928 que es preocupante si cierta información es propaganda o mantenimiento, solo él puede mirar el espacio en todas las direcciones. A menudo dicen que somos enanos
no, siempre que sea de actualidad. Sobre este aspecto, nada común, son muchos los que hoy en día están sobre los hombros de gigantes, y siempre que los gigantes sean reales y no por costumbre autoritaria. ¿Qué
dibujando un mundo enfermo que arroja pesados tentáculos a las generaciones futuras. Como la sepia mejor posición tenemos los enanos para buscar el destino lejano, nuestra “búsqueda del mar”?
gigante de Medusa (p. 23) callada debajo del pequeño bote mientras el pescador desenreda sus redes, la
libertad de cada uno está en peligro subrepticiamente. No es el pez trofeo del viejo Santiago, que una El lienzo más antiguo entre los que figuran en el catálogo es Faena (p. 13) del 2008; una escena épica de
vez ganado será alimento para los tiburones, aun dejando en la memoria de su depredador el recuerdo corridas de toros en la que el torero ha sido herido por una cornada. El toro aparece en primer plano,
de una lucha igualitaria, es algo que se acerca en sigilo para socavar nuestra existencia. La belicosa Reina perturbador, frente al adversario colgado y arrojado al suelo. La bestialidad del animal está en armonía,
de Corazones acusó al Sombrerero Loco de querer asesinar al Tiempo, quien desde entonces ha dejado el coraje del hombre flaquea. Sin embargo, revirtiendo los parámetros del razonamiento, como lo
de seguir los deseos del viejo amigo quedando detenido en la hora de la edad, o a las 11:30 (p. 79), en sugiere a menudo el trabajo de Larraz, no está claro cuál es el desequilibrio moral, dónde realmente se
una suerte de eterna actualidad que no nos permite evolucionar hacia una situación nueva. Aquí está el encuentra el bueno y cuál sea el malo, en un juego dictado por el riesgo asumido por ambos enemigos:
sentido completo de las advertencias de Larraz, que coloca el jardín real en un buque de guerra, incrustado uno voluntariamente provoca, el otro por instinto responde. Hace años, un reportero amigo se encontraba
con miles y miles de árboles maravillosos pero no menos amenazantes, estáticos y sin tiempo. A estas entre las revueltas de facciones libias, sin poder preguntarse quién tenía la razón, simplemente decidió
advertencias, a este llamado de atención, Larraz opone la quietud, los paisajes que se convierten en mar y presenciar las acciones de las partes relacionadas. Quizás, ex post facto, podría haber hecho una elección
cielo, las nubes, los destellos astrales, las casas solitarias. Es una clara necesidad de razonar sobre las mejores de campo, sin embargo, siempre quedan los acosos que cada una de las facciones se hacen y la justicia se
cosas. Trascurre sus jornadas con la memoria de los poetas, lo que es diferente a vivirlos en días comunes encuentra tal vez alejada de ambas. Hoy, esta dificultad para encontrar un solo canon para la enfermedad
va más allá de las personalidades y el carácter para permanecer fiel solamente a las palabras. Se pasea hasta del mal, hace que sea más difícil confrontar a los que tenemos delante. Permanezco indeciso como el niño
el fondo del acantilado con Hesiod (p. 51), que en las Obras y los días explica a su hermano cómo hay dos de The Hunt (p. 49), que ha hecho un pacto de maravilla entre las luciérnagas y las estrellas, mira y pierde el
formas de “contienda”, la buena y la mala. Esta última es la causa de luchas y guerras por el poder, mientras valor de la diferencia entre una luz cercana y una lejana. Cuando uno se libra de los miedos, la materia tiene
que la otra induce a que los hombres se involucren en el juego y a mejorarse en las competencias. The un aspecto inusual, se convierte en tiempo, como en Weighing Dark Matter (p. 71), se convierte, creo, en
Lobbyist (p. 59) está probablemente más acostumbrado al primero, triunfante al lado de la cola de un avión esperanza. Un pintor, especialmente uno lunar como Larraz, nunca puede atribuir su trabajo a una simple
militar, con su maletín lleno de negociaciones y vínculos financieros. Sin embargo, también existe el deseo crónica noticiosa, ni puede liberar el sueño de la realidad y en viceversa quitarle las ideas realistas a las de
de ser otro, de encontrar un umbral diferente. “Buscar” es un verbo español con un sonido valiente que en la imaginación. Por otro lado, como todos los grandes maestros, puede permitirse la probabilidad de una
su etimología significa “conquistar”, “vencer”, por lo tanto, subraya en En Busca del Mar (p. 44) una razón para narración, optando por hacer de la historia un cuento: la historia de todos los tiempos.
el descubrimiento conquistado, de laboriosas investigaciones que han dado frutos. En la pintura, una casa
Eso fue lo que hicimos al arrancar los paños de las cuerdas de Nápoles, transformamos una exigencia
se refleja en el agua, esboza una presencia viva o que podría serlo gracias a sus habitantes, pero sin embargo
momentánea en una aventura válida para cada lector, para cada individuo, en cualquier lugar y en cualquier
revela un estado de calma, de mutismo antinatural y por lo tanto abstracto. Esa casa lechosa con techos
estación, toda vez que con ese vuelo hacia la Luna, Larraz tradujo una posibilidad imaginaria en un
agudos, no existe concretamente, ni se asienta sobre el istmo de hierba quemada, y sin embargo vale como
grandioso acto de consciencia.
un momento de premonición, como la articulación de un deseo íntimo y personal.
© Flavio Arensi, 2018
Se vuelve concreto y surrealista, una especie de “cuarto del deseo” de Tarkovsky donde Larraz transforma
la angustia de la pesadilla en un regalo de ensueño para todos aquellos que están listos para seguirlo en los
recesos secretos del alma. Si tienes el coraje de subir por los músculos del Coloso de Casabianca (p. 14), de los
cuales solo vemos los tobillos gigantes al principio, te levantas a su calabaza pelada, te mueves sobre ella
y entiendes que su mirada metálica se fijó en un solo horizonte, domina el paisaje, se destaca majestuoso
6 7
Fifteen years ago I left Julio Larraz in the moon, in a special pictorial space he presented in Italy. It has
been a long time for both of us and we met again here on Earth, I came down after being near the silver
craters, like Astolfo, who went to recover his mind and give it back to Orlando. We went and came with
the same stuff, a sheet drawn out from the streets of Naples, we certainly chose a plausible solution to an
unlikely statement, however poetic. On the other hand, we spent more words musing over a painting than
just looking at it, seeking the meaning of a beautiful sculpture that just listening to it. It is always useful
to rationalize, to show the right way to a deliberate action that cannot, that must not escape schemata.
Thus, for instance, The Curator (p. 16), configured by Larraz, appears both hieratic and faceless—the former
equivalent to the latter—facing the great shunga in which the embrace probably reminds the relationship
between the critique and the artist; and it is not at all easy to determine who does what. In front of the work,
interrupting it, standing still on a pedestal reminiscent of an ecclesial pulpit, ready to start an anonymous,
irrelevant sermon, like a lay clergyman of a religion with its rituals and mythologies.
During these fifteen years of separation, the moon is still where it is supposed to be, but here the world
has changed, just like when you awaken from a dream and take the measure of the night to find your
way around the room: a few grams of light seeping through the cracks of the blinds, the night table or
the waning, fluorescent hands of an alarm clock pointing at the known extremes. Returning to reality
means to observe reality: “The dream is over / what can I say?” sang John Lennon, who had lived with eyes
closed in his strawberry fields, lacking secure answers after the Beatles adventure. There is a sort of aphasia
grasping the throat when you wake up, rubbing your pupils and realizing that something does not fit, that
something is happening. What is there to say? Sometimes reality is so dishonest that it may appear sweet,
even necessary, especially when it seems primordial, or better still if it is fateful. This is the meaning of The
Heir (p. 17), reminder of a neither too remote, nor too illustrious past, with a single geographic place or a
specific nation; with his well shined and defined black boots, bald and arrogant like any dictator enjoying
the favor of people, the almost ethereal solitude in which his public choreography is displayed; it is, in
fact, a warning more than a desire. In these paintings, encompassing nearly a decade of work, Larraz deals
several times with the subject of freedom, starting with La Habana 1956, Portrait of the Artist as a Young Man
(p. 19), where the reference to James Joyce’s Stephen Dedalus underlies the desire to be emancipated from
all the implications and bonds of social context and family in order to be plainly an artist. This freedom is
fundamental in the growth of each individual, and it is constantly endangered when the transformation
of any thought into an act of faith demands a passive, acritical association. In Canto Confesante (p. 67), the
focal point is not the image of the military man appearing in front of the sand, but the dark shadow of the
mantis, which becomes its correlative object. We always offer a representation of what we would like the
others to see, we present ourselves as part of an accepted and therefore safe mechanism, where propaganda
still guides the consciences in spite of the past, in spite of the past evils. Edward L. Bernays wrote in 1928
8 9
that it does not matter whether a certain information is propaganda or not, given that it is a current event. The oldest canvas in the catalogue is Faena (p. 13) of 2008, an epic bullfighting scene in which the toreador
On this not so common aspect there are many who are depicting a sick world hurling its heavy tentacles on has suffered a cornada. The bull appears in the foreground, disturbing, facing the wounded adversary on
the future generations. Like the giant cuttle-fish of Medusa (p. 23) quietly lurking under the small boat while the ground. Its bestiality seems harmonious while the man’s courage is diminished. However, inverting the
the fisherman untangles his net, everybody’s freedom is subreptitiously endangered. It is not old Santiago’s parameters of reasoning, as is often the case in Larraz’s work, it is not clear where the moral unbalance is,
trophy-fish, destined to become fodder for sharks once it has been caught, though leaving a memory of an who the real good one is and which is the bad, in a game dictated by the risk assumed by both enemies: one
equalitarian struggle in its predator; it is rather something that crawls with sigil to undermine our existence. deliberately provoking and the other instinctively responding. Years ago a reporter friend of mine amidst
The wary Queen of Hearts accused the Mad Hatter of attempting to murder Time, who has since then the Libian battling factions found himself unable to wonder who was the righteous one and decided to
ceased to follow the wishes of his old friend, frozen in the hour of the age, or at 11:30 (p. 79), in a sort of witness the actions of the parties involved. Perhaps ex post facto he could have chosen sides, however there is
eternal present which allows us to evolve towards a new situation. Here we find the whole sense of Larraz’s always abuse in both factions and justice is perhaps equally absent of both. Today, the difficulty of finding
warnings, placing the royal garden in a warship, incrusted with thousands of wonderful but nevertheless a unique canon to judge the illness of evil makes it even harder to confront the hardships that surround
threatening, static and timeless trees. To these warnings and callings Larraz opposes the stillness of us. I remain undecided like the child in The Hunt (p. 49), who has made an awesome pact with the fireflies
landscapes turning into sea and sky, clouds, astral flashes, lonely houses. There is a clear need to ponder and the stars, and looks around in his incapacity to weigh the differences between a close and a distant
on the best things. He spends his hours with the poets’ memory, which is different from experiencing lighting. When you get rid of fear, matter takes on an unusual aspect, it becomes time, like in Weighing Dark
them in common days beyond personalities and characters to remain faithful only to words. He journeys Matter (p. 71), also becoming, I believe, hope. A painter, especially a lunar one like Larraz, never attributes
to the bottom of the cliff with Hesiod (p. 51), who explains to his brother in The Works and the Days that his work to a simple journalistic chronicle, he can neither liberate dream from reality nor realistic ideas
there are two ways to “contend,” the good way and the bad one. The latter is the cause of struggles and from imagination. On the other hand, like all great masters, he cannot allow the possibility of a narration,
wars for power, while the former induces men to become involved in games and to improve themselves choosing to turn history into a tale: the story of all times.
in competition. Lobbyist (p. 59) is probably more used to the former, appearing triumphant besides the tail
of a military plane, with his briefcase full of negotiations and financial obligations. However, there is also That is what we did when we grasped the clothes off the washing line in Naples, turning a momentary need
the desire to be someone else, to find a different threshold. “Buscar” is a Spanish verb with a valiant sound into an adventure valid for every reader, for every person, in every place and station, since with his flight to
and an etymology linked to “conquer,” “vanquish,” and thus, it underlines in En Busca del Mar (p. 44) a reason the moon Larraz has translated an imaginary possibility into a grandiose act of awareness.
behind the accomplished discovery, of laborious investigations which become fruitful. In the painting, a
house is reflected in the water, sketching a presence which either lives or could live through its dwellers, but © Flavio Arensi, 2018
nevertheless reveals a state of calm, of unnatural and therefore abstract muteness. This milky house with
sharp ceilings has neither concrete existence nor it is placed on an isthmus of burnt out grass, and yet it is
valued as a moment of premonition, like the articulation of an intimate and personal wish.
It becomes concrete and surreal, a sort of Tarkovsky’s “desire room” where Larraz turns the nightmarish
grief into a gift of reverie for those willing to follow him to the secret realms of the soul. If you have the
courage to climb the muscles of Coloso de Casabianca (p. 14), of which we can see only their giant ankles at
first, you reach his shaved pumpkin, move around it and get to understand that his metallic look is fixed
in one horizon, dominating the landscape, standing out majestically to induce respect. But it is the small
man in his head Bronze Care (p. 15), the tiny little man that provides his maintenance, the only one who can
watch the space in all directions. It is often said that we are but dwarves on the shoulders of giants, given
that the giants are real and not appointed by some authoritarian habit. What position can be better for a
dwarf looking for a goal way over yonder, our “quest for the sea?”
10 11
Faena, ©2008
Oil on canvas
20 x 24 in.
50,8 x 60,9 cm
13
El Coloso, Puerto de Casabianca, ©2011 Bronze Care, ©2017
Oil on canvas Oil on canvas
40 x 50 in. 60 x 72 in.
101,6 x 127 cm 152,4 x 182,8 cm
14 15
The Curator, ©2018 The Heir, ©2011
Oil on canvas Oil on canvas
72 x 98 in. 50 x 60 in.
182,8 x 248,9 cm 127 x 152,4 cm
16 17
La Habana 1956, Portrait of the Artist as a Young Man, ©2014
Oil on canvas
60 x 72 in.
152,4 x 182,8 cm
19One Day in October, ©2013
Oil on canvas
60 x 72 in.
152,4 x 182,8 cm
21Medusa, ©2018
Oil on canvas
50 x 60 in.
127 x 152,4 cm
23Dutch, ©2012 Los Amores de Neptuno, ©2018
Oil on canvas Oil on canvas
60 x 72 in. 57.5 x 82 in.
152,4 x 182,8 cm 146 x 208,2 cm
24 25Guanahacabibes, ©2015
Oil on canvas
72 x 204 in.
182,8 x 518,1 cm
26 27On The Narragansett, ©2015
Oil on canvas
24 x 30 in.
60,9 x 76,2 cm
29Tyrrhenian
Winter , ©2018 The Floating Gardens of The Queen of Hearts, ©2016
Oil on canvas Oil on canvas
78 x 60 in. 60 x 72 in.
198 x 152,4 cm 152,4 x 182,8 cm
30 31Night Flight, ©2018 Dreaming of Petrarca, ©2015
Oil on canvas Oil on canvas
60 x 72 in. 60 x 72 in.
152,4 x 182,8 cm 152,4 x 182,8 cm
32 33LAX-SFO Night Flight, ©2018
Oil on canvas
37.5 x 152.25 in.
95,2 x 386,7 cm
34 35A Visit from his Eminence, ©2018 Au Revoir, ©2016
Oil on canvas Oil on canvas
60 x 72 in. 60 x 72 in.
152,4 x 182,8 cm 152,4 x 182,8 cm
36 37On the Sea of Storms, ©2017
Oil on canvas
72 x 60 in.
182,8 x 152,4 cm
39The Maritime Raid on Isla Falconera, ©2018 Vespers at The Bay of Rainbows, ©2018
Oil on canvas Oil on canvas
60 x 72 in. 60 x 72 in.
152,4 x 182,8 cm 152,4 x 182,8 cm
40 41Flower Storm over Punta Cobadiles, ©2018
Oil on canvas
60 x 72 in.
152,4 x 182,8 cm
42 43En Busca del Mar, ©2015 Enigma, ©2018
Oil on canvas Oil on canvas
60 x 72 in. 60 x 72 in.
152,4 x 182,8 cm 152,4 x 182,8 cm
44 45Clouds over Cumae, ©2015 Punta Cobadiles, ©2018
Oil on canvas Oil on canvas
24 x 30 in. 50 x 40 in.
60,9 x 76,2 cm 127 x 101,6 cm
46 47The Hunt, ©2018
Oil on canvas
60 x 72 in.
152,4 x 182,8 cm
49Landing Party, ©2013 An Afternoon with Hesiod, ©2016
Oil on canvas Oil on canvas
40 x 50 in. 60 x 72 in.
101,6 x 127 cm 152,4 x 182,8 cm
50 51Only the Memory of his Poetry, ©2016 Contraband, ©2018
Oil on canvas Oil on canvas
72 x 96 in. 60 x 72 in.
182,8 x 243,8 cm 152,4 x 182,8 cm
52 53Sword into Plowshares, ©2015
Oil on canvas
60 x 72 in.
152,4 x 182,8 cm
55The Innisfail on The Santa Ana, ©2016 Forest Murmurs, ©2015
Oil on canvas Oil on canvas
60 x 72 in. 60 x 78 in.
152,4 x 182,8 cm 152,4 x 198,1 cm
56 57Hellen the Queen of Hearts in the Peoples Republic of China, ©2019 The Lobbyist, ©2017
Oil on canvas Oil on canvas
72 x 98 in. 71.25 x 84.5 in.
183 x 249 cm 180,9 x 214,6 cm
58 59Undocumented, ©2015 Oil on canvas 72 x 60 in. 182,8 x 152,4 cm
The Future Told under Clear Skies, ©2014 The Trojan Horse, ©2014
Oil on canvas Oil on canvas
60 x 78 in. 82 x 100 in.
152,4 x 198,1 cm 208,2 x 254 cm
62 63UFO, ©2016
Oil on canvas
72 x 96 in.
182,8 x 243,8 cm
65Canto Confesante, ©2011
Oil on canvas
72 x 60 in.
182,8 x 152,4 cm
67The Arrival of La Gracielona, ©2009
Oil on canvas
60 x 48 in.
152,4 x 121,9 cm
69Voix D’A nges, ©2019 Weighing Dark Matter, ©2018
Oil on canvas Oil on canvas
96 x 82 in. 40 x 50 in.
244 x 208 cm 101,6 x 127 cm
70 71Pie in the Sky, ©2019
Oil on canvas
96 x 82 in.
244 x 208 cm
73Parliamentary Sessions, ©2019 The Fourth Amendment, ©2014
Oil on canvas Oil on canvas
96 x 82 in. 69 x 106 in.
244 x 208 cm 175,2 x 269,2 cm
74 75Study for “On Duty”, ©2018
Watercolor on paper
39 x 53 in.
99 x 134,6 cm
77Day Sailer, ©2018 Daiquiri for The King of Hearts, ©2018 11:30, ©2018
Watercolor and pastel on paper Watercolor and pastel on paper Watercolor and pastel on paper
39 x 52 in. 39 x 51.5 in. 52 x 39 in.
99 x 132 cm 99 x 130 cm 132 x 99 cm
78 79Weighing Dark Matter, ©2019 The Nautilus, ©1998
Bronze, 1/6 Bronze, 1/6
Edition of 6 + 2AP Edition of 6 + 2AP
9.5 x 12 x 8.37 in. 15.6 x 81.75 x 13.6 in.
24 x 30 x 21 cm 40 x 208 x 35 cm
80 81Legend of the Hudson, ©2007
Bronze, 1/3
Edition of 3 + 2AP
87.5 x 72 x 33 in.
222 x 183 x 84 cm
83La Giralda, ©2016
Bronze, 2/6
Edition of 6 + 2AP
50 x 28.75 x 24 in.
127 x 73 x 61 cm
85Retrofit, ©2019
Aluminum, 1/3
Edition of 3 + 2AP
96 x 58 x 74.5 in.
243,8 x 147,3 x 189,2 cm
87Strong Man, ©2019
Bronze, 1/3
Edition of 3 + 2AP
111 x 29.5 x 33.25 in.
282 x 75 x 84 cm
89La Goulue, ©2019
Bronze, 1/3
Edition of 3 + 2AP
74.5 x 88 x 68 in.
189 x 224 x 173 cm
91List of Works 1| 10 | 19 |
Au Revoir, ©2016
27 | 36 |
Hellen the Queen of Hearts in
44 |
Voix D’A nges, ©2019
53 |
Weighing Dark Matter, ©2019
Faena, ©2008 Los Amores de Neptuno, ©2018 Punta Cobadiles, ©2018
Oil on canvas Oil on canvas Oil on canvas Oil on canvas the Peoples Republic of China, Oil on canvas Bronze, 1/6
20 x 24 in. 57.5 x 82 in. 60 x 72 in. 50 x 40 in. ©2019 96 x 82 in. Edition of 6 + 2AP
50,8 x 60,9 cm 146 x 208,2 cm 152,4 x 182,8 cm 127 x 101,6 cm Oil on canvas 244 x 208 cm 9.5 x 12 x 8.37 in.
72 x 98 in. 24 x 30 x 21 cm
2| 11 | 20 | 28 | 183 x 249 cm 45 |
El Coloso, Puerto de Guanahacabibes, ©2015 On The Sea of Storms, ©2017 The Hunt, ©2018 Weighing Dark Matter, ©2018 54 |
Casabianca, ©2011 Oil on canvas Oil on canvas Oil on canvas 37 | Oil on canvas The Nautilus, ©1998
Oil on canvas 72 x 204 in. 72 x 60 in. 60 x 72 in. The Lobbyist, ©2017 40 x 50 in. Bronze, 1/6
40 x 50 in. 182,8 x 518,1 cm 182,8 x 152,4 cm 152,4 x 182,8 cm Oil on canvas 101,6 x 127 cm Edition of 6 + 2AP
101,6 x 127 cm 71.25 x 84.5 in. 15.6 x 81.75 x 13.6 in.
12 | 21 | 29 | 180,9 x 214,6 cm 46 | 40 x 208 x 35 cm
3| On The Narragansett, ©2015 The Maritime Raid Landing Party, ©2013 Pie in the Sky, ©2019
Bronze Care, ©2017 Oil on canvas on Isla Falconera, ©2018 Oil on canvas 38 | Oil on canvas 55 |
Oil on canvas 24 x 30 in. Oil on canvas 40 x 50 in. Undocumented, ©2015 96 x 82 in. Legend of the Hudson, ©2007
60 x 72 in. 60,9 x 76,2 cm 60 x 72 in. 101,6 x 127 cm Oil on canvas 244 x 208 cm Bronze, 1/3
152,4 x 182,8 cm 152,4 x 182,8 cm 72 x 60 in. Edition of 3 + 2AP
13 | 30 | 182,8 x 152,4 cm 47 | 87.5 x 72 x 33 in.
4| Tyrrhenian Winter, ©2018 22 | An Afternoon with Hesiod, ©2016 Parliamentary Sessions, ©2019 222 x 183 x 84 cm
The Curator, ©2018 Oil on canvas Vespers at The Bay Oil on canvas 39 | Oil on canvas
Oil on canvas 78 x 60 in. of Rainbows, ©2018 60 x 72 in. The Future Told under 96 x 82 in. 56 |
72 x 98 in. 198 x 152,4 cm Oil on canvas 152,4 x 182,8 cm Clear Skies, ©2014 244 x 208 cm La Giralda, ©2016
182,8 x 248,9 cm 60 x 72 in. Oil on canvas Bronze, 2/6
14 | 152,4 x 182,8 cm 31 | 60 x 78 in. 48 | Edition of 6 + 2AP
5| The Floating Gardens of Only the Memory of 152,4 x 198,1 cm The Fourth Amendment, ©2014 50 x 28.75 x 24 in.
The Heir, ©2011 The Queen of Hearts, ©2016 23 | his Poetry, ©2016 Oil on canvas 127 x 73 x 61 cm
Oil on canvas Oil on canvas Flower Storm over Punta Oil on canvas 40 | 69 x 106 in.
50 x 60 in. 60 x 72 in. Cobadiles, ©2018 72 x 96 in. The Trojan Horse, ©2014 175,2 x 269,2 cm 57 |
127 x 152,4 cm 152,4 x 182,8 cm Oil on canvas 182,8 x 243,8 cm Oil on canvas Retrofit, ©2019
60 x 72 in. 82 x 100 in. 49 | Aluminum, 1/3
6| 15 | 152,4 x 182,8 cm 32 | 208,2 x 254 cm Study for “On Duty”, ©2018 Edition of 3 + 2AP
La Habana 1956, Portrait of the Night Flight, ©2018 Contraband, ©2018 Watercolor on paper 96 x 58 x 74.5 in.
Artist as a Young Man, ©2014 Oil on canvas 24 | Oil on canvas 41 | 39 x 53 in. 243,8 x 147,3 x 189,2 cm
Oil on canvas 60 x 72 in. En Busca del Mar, ©2015 60 x 72 in. UFO, ©2016 99 x 134,6 cm
60 x 72 in. 152,4 x 182,8 cm Oil on canvas 152,4 x 182,8 cm Oil on canvas 58 |
152,4 x 182,8 cm 60 x 72 in. 72 x 96 in. 50 | Strong Man, ©2019
16 | 152,4 x 182,8 cm 33 | 182,8 x 243,8 cm Day Sailer, ©2018 Bronze, 1/3
7| Dreaming of Petrarca, ©2015 Sword into Plowshares, ©2015 Watercolor and pastel on paper Edition of 3 + 2AP
One Day in October, ©2013 Oil on canvas 25 | Oil on canvas 42 | 39 x 52 in. 111 x 29.5 x 33.25 in.
Oil on canvas 60 x 72 in. Enigma, ©2018 60 x 72 in. Canto Confesante, ©2011 99 x 132 cm 282 x 75 x 84 cm
60 x 72 in. 152,4 x 182,8 cm Oil on canvas 152,4 x 182,8 cm Oil on canvas
152,4 x 182,8 cm 60 x 72 in. 72 x 60 in. 51 | 59 |
17 | 152,4 x 182,8 cm 34 | 182,8 x 152,4 cm Daiquiri for The King La Goulue, ©2019
8| LAX-SFO Night Flight, ©2018 The Innisfail on of Hearts, ©2018 Bronze, 1/3
Medusa, ©2018 Oil on canvas 26 | The Santa Ana, ©2016 43 | Watercolor and pastel on paper Edition of 3 + 2AP
Oil on canvas 37.5 x 152.25 in. Clouds over Cumae, ©2015 Oil on canvas The Arrival of 39 x 51.5 in. 74.5 x 88 x 68 in.
50 x 60 in. 95,2 x 386,7 cm Oil on canvas 60 x 72 in. La Gracielona, ©2009 99 x 130 cm 189 x 224 x 173 cm
127 x 152,4 cm 24 x 30 in. 152,4 x 182,8 cm Oil on canvas
18 | 60,9 x 76,2 cm 60 x 48 in. 52 |
9| A Visit from his Eminence, ©2018 35 | 152,4 x 121,9 cm 11:30, ©2018
Dutch, ©2012 Oil on canvas Forest Murmurs, ©2015 Watercolor and pastel on paper
Oil on canvas 60 x 72 in. Oil on canvas 52 x 39 in.
60 x 72 in. 152,4 x 182,8 cm 60 x 78 in. 132 x 99 cm
152,4 x 182,8 cm 152,4 x 198,1 cm
92 93Born on March 12th, 1944 in Habana, Cuba 2013 Julio Larraz, Marlborough Gallery, New York
The artist lives and works in Miami, Florida Julio Larraz, Marlborough Gallery Monaco, Monte
Carlo, Monaco
Omaggio Julio Larraz, Galleria d’Arte Contini, Venice,
AWARDS | Italy
PREMIOS Julio Larraz, Galeria Duque Arango and Art of the
World Gallery, Medellín, Colombia
Gold Medal Award 2011, Casita Maria, Center for the arts and Coming Home, Ascaso Gallery, Miami, Florida
education, New York 2012 Julio Larraz, Complesso del Vittoriano, in collaboration
Cintas Grant, Instituto de Educación Internacional, New York, with Galleria d’Arte Contini, Rome, Italy
Grants, The American Academy of Arts and Letters and the 2010 Julio Larraz, Marlborough Gallery, Madrid, Spain
National Institute of Arts and Letters, New York Julio Larraz, Contini Galleria d’Arte, Venice, Italy
Purchase Prize, Childe Hassam Fund Purchase Exhibition, 2009 Julio Larraz, Marlborough Gallery, New York
The American Academy of Arts and Letters and the National 2008 Julio Larraz, Contini Galleria d’Arte, Cortina
Institute of Arts and Letters, New York d’Ampezzo, Italy
1997 Facts About Cuban Exile, FACE, Miami, Florida Julio Larraz, The Bellevue, in collaboration with
Marlborough New York, Biarritz, France
2007 Monumental Sculpture Show, Pietrasanta, Italy
SOLO EXHIBITIONS | 2006 Julio Larraz, Contini Galleria d’Arte, Venice, Italy
EXPOSICIONES INDIVIDUALES Julio Larraz: New Work, Marlborough Gallery, New York
Julio Larraz - Giochi di potere, Piazza del Duomo, Chiesa
2019 Behind The Curtain of Dreams, Ascaso Gallery, e Chiostro di Sant’Agostino Pietrasanta, Italy
Miami, Florida 2005 Julio Larraz - Treinta años de trabajo, Centro Cultural
Julio Larraz, Ron Hall Gallery, Dallas Texas Metropolitano, Quito, Ecuador; traveled to Museo
2018 Viaggio Nella Fantasia, Galleria d’Arte Contini, Venice, de Arte de Costa Rica, San José, Costa Rica
Italy Altri Sol, Other Suns, Tuscan Sun Festival, Cortina, Italy
Julio Larraz, Miles McEnery Gallery, New York Julio Larraz, Contini Galleria d’Arte, Cortina
Julio Larraz, Ascaso Gallery, Art Miami, Miami, Florida d’Ampezzo, Italy
2017 Maestro Julio Larraz Sculptures, NADER Art Museum 2004 Julio Larraz: Recent Paintings, Marlborough Gallery,
Latin America, Miami, Florida New York
New Beginnings by Julio Larraz, The John T. Surovek Treinta años de trabajo, Museo de Arte Moderno de
Gallery, Palm Beach, Florida Bogotá, Bogotá, Colombia; traveled to Museo
Revelations, Art of The World Gallery, Houston, Texas de Arte Moderno, Mexico City, Mexico; Museo de
Julio Larraz, Paintings and Sculpture, Museum of Art, Arte de Zapopan, Guadalajara, Mexico; Museo
DeLand, Florida de Arte Costarricense, San José, Costa Rica
2016 Made in U.S.A., Ascaso Gallery, Miami, Florida 2003 L’ultimo sguardo dopo la Terra, Forni Galleria d’Arte,
Omaggio Julio Larraz, Galleria d’Arte Contini, Venice, Italy Bologna, Italy
2015 Julio Larraz, Ameringer, McEnery & Yohe Gallery, 2002 Oeuvres récentes: peintures et sculptures, Marlborough
New York Monaco, Monte Carlo, Monaco
2014 Julio Larraz, Art Basel Miami, Florida Julio Larraz, Galerie Patrice Trigano, Paris, France
Ameringer, McEnery & Yohe Gallery, New York El sueño es vida, Galleria Tega, Milan, Italy
Rules of Engagement, Contini Art UK, London, United 2001 Julio Larraz, Fondazione Bevilacqua La Masa, Venice,
Kingdom Italy
Del mare, dell’aria e di altre storie, Fondazione Puglisi 2000 New Works, Marlborough Florida, Boca Raton, Florida;
Cocentino, in collaboration with Galleria d’Arte traveled to Galería A.M.S. Marlborough, Santiago,
Contini, Catania, Italy Chile
Two Hundred Years in Power, Galeria Arteconsult, Julio Larraz, Galleria Tega, FIAC, Paris, France
Julio Larraz® in collaboration with Ascaso Gallery, Panama City,
Panama
1999 Julio Larraz’s Sculptures, Galleria Tega, Art Miami,
Miami, Florida
95Luis Perez Galeria, ARCO, Madrid, Spain 1982 Works IL Gallery, Southampton, New York Art Wynwood, Ascaso Gallery, Miami Arte Fiera, Bologna, Italy, Galleria Tega
Julio Larraz, Atrium Gallery, St. Louis, Missouri Belle Arts Gallery, Nyack, New York 2014 Caribbean: Crossroads of the World, Perez Art Museum, FIAC, Paris, France, Galerie Patrice Trigano
Julio Larraz, Galleria Tega, FIAC, Paris, France Bacardi Gallery, Miami, Florida Miami Latin American Artists, Marlborough Gallery, New York
1998 Julio Larraz, Boca Raton Museum of Art, Boca Raton, Inter-American Art Gallery, New York Papertrail, Latin American Masters, Santa Monica, Art Basel, Basel, Switzerland, Galleria Tega
Florida 1980 Hirschl & Adler Galleries, New York California Arte de América Latina, Galería Lucía de la Puente,
Julio Larraz, Museo Pedro de Osma, Lima, Perú Hall Galleries, Fort Worth, Texas Art Miami, Ascaso Gallery, Miami Lima, Perú
Julio Larraz, Galería Der Brucke, Buenos Aires, 1979 Hirschl & Adler Galleries, New York 2013 The Armory Show, Marlborough Gallery 2001 FIAC, Paris, France, Galleria Tega
Argentina 1977 FAR Galleries, New York Art Southampton, Southampton, N.Y., Ascaso Gallery FIAC, Paris, France, Galerie Patrice Trigano
1997 Ron Hall Gallery, Art Miami, Miami, Florida 1976 Westmoreland Museum of Art, Greensburg, FIA, Caracas, Venezuela, Galería de Arte Ascaso Art Basel, Basel, Switzerland, Galleria Tega
1996 Watercolors and Pastels by Julio Larraz, Peter Findlay Pennsylvania Art Miami, Ascaso Gallery, Miami Arte Fiera, Bologna, Italy, Galleria Tega
Gallery, New York 1974 FAR Gallery, New York 2012 Exposition de Groupe, Marlborough Monaco Arte Fiera, Bologna, Italy, Marlborough Gallery
Recent Works by Julio Larraz, Ron Hall Gallery, Dallas, Texas 1972 New School for Social Research, New York 2011 Omaggio agli artisti, Galleria d’Arte Contini, Venezia, Italia 2000 Arte Fiera, Bologna, Italy, Galleria Tega
The Gulf Stream, Atrium Gallery, St. Louis, Missouri 1971 Pyramid Galleries, Washington, D.C. 2010 Art Basel, Miami, Marlborough Gallery Art Miami, Miami, Florida; Marlborough Gallery,
Julio Larraz, Ron Hall Gallery, Santa Fe, New Mexico The Miami Sculpture Biennale New York
Works on Paper by Julio Larraz, Ron Hall Gallery, 2009 Works on Paper, Marlborough Gallery, New York MiArt, Milan, Italy, Galleria Tega
Santa Fe, New Mexico GROUP EXHIBITIONS | Art Basel, Miami, Marlborough Gallery Art Basel, Basel, Switzerland, Galleria Tega
1995 The Planets, Tampa Museum of Art, Tampa, Florida EXPOSICIONES COLECTIVAS Art Miami, Galleria d’Arte Contini Biennale di Arte Sacra, Museo di Castello Ursino,
Julio Larraz, Galerie Vallois, Paris, France 2008 Latin American Art, Marlborough Gallery, New York Catania, Italy
The Planets, Ron Hall Gallery, Dallas, Texas 2019 Crafting Identity, Highlights of the TIA Collection 2007 Painting and Sculpture, Marlborough Gallery, New York Sobre el humor, Galería Marlborough, Madrid
Peter Findlay Gallery, New York from around the world, in The Rockwell Museum, Wit & Whimsy, Marlborough Gallery, New York 1999 Latin American Still Life: Reflections of Time and Space,
1994 Julio Larraz, Ron Hall Gallery, Dallas, Texas Corning, New York Summer Exhibition, Marlborough Gallery, New York Katonah Museum of Art, Katonah, New York. This
1992 Krannert Art Museum, University of Illinois Art Busan, South Korea, Art of the World Gallery, Sobre el Humor, Galería Marlborough, Madrid, Spain, exhibition traveled to: Museo del Barrio, New York
at Urbana-Champaign, Illinois Artefiera, Galleria d’Arte Contini, Bologna Italy June 28 - September 8 Silent Things, Secret Things, Still Life from Rembrandt to the
Witness to Silence, Nohra Haime Gallery, New York Art New York Fair, N.Y., Ascaso Gallery, Miami Representation 2007 New York & San Francisco, Jenkins Millenium, Albuquerque Museum, Albuquerque,
Works on Paper, Atrium Gallery, St. Louis, Missouri Art Wynwood, Ascaso Gallery, Miami Johnson Gallery, San Francisco, California, New Mexico
1991 Moments in Time, Nohra Haime Gallery, New York Palm Beach, Modern and Contemporary, Art Fair, June 1 - July 21, 2007 Figuración Internacional, Galería Marlborough, Madrid.
1990 Works on Paper, Atrium Gallery, St. Louis, Missouri Ascaso Gallery, Miami Latin Masters, Nassau County Museum of Art, Roslyn This exhibition traveled to: Caja Burgos, Burgos, Spain;
Prints, Colleen Greco Gallery, Nyack, New York 2018 KIAF Art Seoul, Art of the World Gallery Harbor, New York Centro Cultural Rioja, Logroño, Spain
Janey Beggs Gallery, Los Angeles, California Transformative Effects, Ascaso Gallery, Miami 2006 Summer Group Show, Marlborough Gallery, Giardino botanico di Paul Klee, Museo di Arte Moderno
Gerald Peters Gallery, Santa Fe, New Mexico Art New York Fair, N.Y., Ascaso Gallery, Miami New York di Catania, Catania, Italy
Watercolors, Nohra Haime Gallery, New York ZONAMACO Mexico Arte Contemporaneo Fair, 2005 Landscape, Cityscape, Marlborough Gallery, 1998 Maestros Latinoamericanos, Galería Espacio, San
1988 Ravel Gallery, Austin, Texas Art of the World Gallery New York Salvador, El Salvador
Nohra Haime Gallery, New York Belief in Giants, Miles McEnery Gallery, New York Works on Paper, Marlborough Gallery, New York 1997 Group Show, Peter Findlay Gallery, New York
Frances Wolfson Art Gallery, Miami-Dade Art Wynwood, Ascaso Gallery, Miami 2004 Sculptures Monumentales à Saint-Tropez, La Citadelle, Octava Exposición de Pintura y Escultura Latinoamericana,
Community College, Miami, Florida Artefiera, Galleria d’Arte Contini, Bologna, Italy Saint-Tropez, France Galería Espacio, San Salvador, El Salvador
Nohra Haime Gallery, New York Palm Beach, Modern and Contemporary, Ascaso Gallery, Art Basel, Basel, Switzerland, Galleria Tega 1996 Latin Viewpoints into the Mainstream, Nassau County
1987 Museo de Monterrey, Monterrey, México Miami 2003 Parcours Figuratif, Galerie Patrice Trigano, Paris, France Museum of Art, Roslyn Harbor, New York
Hall Galleries, Dallas, Texas 2017 Art Miami, Ascaso Gallery, Miami Paraiso Perdido: Aspectos del Paisaje en el Arte 1995 Magic & Mystery, Austin Museum of Art at Laguna
1986 Museo de Arte Moderno, Bogotá, Colombia Miart, Galleria d’Arte Contini, Milano, Italy Latinoamericano, Lowe Art Museum, Coral Gables, Gloria, Austin, Texas
Nohra Haime Gallery, New York Art Wynwood, Ascaso Gallery, Miami Florida Point/Counterpoint, Santa Barbara Museum, Santa
1985 Galleria Il Gabbiano, Rome, Italy 2016 Art Miami, Ascaso Gallery, Miami Modelvrouwen, The Hague Sculpture-Kloosterkerk, Barbara, California
Nohra Haime Gallery, New York Art New York, N.Y., Ascaso Gallery, Miami The Hague, Netherlands 1994 Latin American Art Masters, Gary Nader Fine Arts,
1984 Galería Iriarte, Bogotá, Colombia Art Wynwood, Ascaso Gallery, Miami La Fête, Le Bellevue, Biarritz, France. This show Miami, Florida
Nohra Haime Gallery, New York Group exhibition, NH Gallery, Cartagena, Colombia traveled to Museo Valenciano de la Ilustración y la 1993 Cuban Masters of the Twentieth Century, Museum of Art,
Galería Arteconsult, Panama City, Panama 2015 Art Miami, Ascaso Gallery, Miami and Galería Modernidad, Valencia, Spain Fort Lauderdale, Florida
1983 Wichita Falls Museum and Art Center, Wichita Falls, La Cometa, Bogotá Art Miami, Miami, Florida; Marlborough Gallery, Leaving our Earth - the Artistic Vision, Taejon
Texas Art Southampton, Ascaso Gallery, Miami New York International Expo, USA Pavillion, Taejon,
Works IL Gallery, Southampton, New York Imaginarios Urbanos, Galería Enlace - Arte 2002 Arte Fiera, Bologna, Italy; Marlborough Gallery, South Korea
Nohra Haime Gallery, FIAC, Paris, France Contemporáneo, Lima, Perú New York
96 971991 Selections, Nohra Haime Gallery, New York Outside Cuba, Zimmerli Art Museum, Rutgers 1981 Dibujantes Latinoamericanos en Nueva York, Galería SELECTED CORPORATE COLLECTIONS |
Topography of Landscape, Nohra Haime Gallery, University, New Brunswick, New Jersey. This Garcés-Velásquez, Santa Fe de Bogotá, Colombia SELECCIÓN DE COLECCIONES
New York exhibition later traveled to: Museum of Contemporary 5a Bienal del Grabado Latinoamericano, Instituto de CORPORATIVAS
Fifth Anniversary, Atrium Gallery, St. Louis, Missouri Hispanic Arts, New York; Miami University Art Cultura Puertorriqueño, San Juan, Puerto Rico
The Sterlington Exhibit, Sterlington, New York Museum, Oxford, Ohio; Museo de Arte de Ponce, 1979 Modern Latin American Paintings, Drawings and Sculpture, American Express Bank, Paris, France
1990 Voyages of the Modern Imagination - The Boat in Twentieth Ponce, Puerto Rico; Center for the Fine Arts, Miami, Center for Inter-American Relations and Sotheby Bacardi Corporation, Miami, Florida
Century American Art, William A. Farnsworth Library Florida; Atlanta College of Art and New Visions Parke-Bernet, New York Chase Manhattan Bank, New York
and Art Museum, Rockland, Maine Gallery of Contemporary Art, Atlanta, Georgia Realism and Latin American Painting: The Seventies, Dunn & Bradstreet, New York
Selections, Nohra Haime Gallery, New York Fifth Anniversary Exhibition, Nohra Haime Gallery, Center for Inter-American Relations, New York First Pennsylvania Bank, Philadelphia, Pennsylvania
Figuración Fabulación, Museo de Bellas Artes, New York This exhibition traveled to: Museo de Monterrey, Guest Quarters, Florida and Texas
Caracas, Venezuela The Anatomy of Drawing, Hooks/Epstein Gallery, Monterrey, México Mitsui & Company (USA) Inc., New York
Contemporary & Modern Masters, Ron Hall Gallery, Houston, Texas Five Realists, Hirschl & Adler Galleries, New York W.R. Grace & Company, New York
Dallas, Texas Latin American Artists in New York Since 1970, Archer M. 1978 Image and Illustration, Squibb Gallery, Princeton, Westinghouse Electric Corporation, Pittsburgh, Pennsylvania
17 Contemporary Prints & Multiples, Nohra Haime Huntington Art Gallery, University of Texas, New Jersey World Bank, Washington, D.C.
Gallery, New York Austin, Texas Art in Decoration, High Museum of Art, Atlanta,
Dali, DePalma, Haring, Kuzio, Larraz, Warhol, Watercolors Plus, Nohra Haime Gallery, New York Georgia
Montebello Park, Suffern, New York Eccentric Images, RVS Fine Arts, Southampton, 1976 Candidates for Art Awards, American Academy of Arts PUBLIC COLLECTIONS |
42 Annual Academy - Institute Purchase Exhibition, New York and Letters and National Institute of Arts and Letters, COLECCIONES PÚBLICAS
American Academy and Institute of Arts and Letters, Inaugural Exhibition: New Space, Nohra Haime Gallery, New York
New York New York A Sampling from the Academy Collection, American Blanton Museum of Art , University of Texas at Austin
Works on Hanji Paper, National Museum of 1984 Artistas Latinoamericanos en Paris, Galería Arteconsult, Academy of Arts and Letters and National Institute Boca Raton Museum of Art
Contemporary Art, Seoul, South Korea Panama City, Panama of Arts and Letters, New York Cintas Foundation, New York
Points of View in Landscape, M. Gutierrez Fine Art, Key Rotating, Nohra Haime Gallery, New York Recent Latin American Drawings (1960-1976) Lines of Fort lauderdale Museum
Biscayne, Florida Summer Group Exhibition, Galleria Il Gabbiano, Vision, organized by the International Exhibitions Herbert F. Johnson Museum of Art, Cornell University, Ithaca,
1989 Selections, Nohra Haime Gallery, New York Rome, Italy Foundation, Washington D.C. This exhibition traveled New York
June Moon-Lunar Reflections by Contemporary Artists, MIRA, Museo del Barrio, New York. This exhibition to: Center for Inter-American Relations, New York; Miami-Dade Public Library, Miami, Florida
G.W. Einstein & Company, New York traveled to: Hyde Park Art Center, Chicago, Illinois; Florida International University, Miami, Florida; Museo de Arte Moderno, Bogotá, Colombia
Master Prints, Nohra Haime Gallery, New York Cuban Museum of Art and Culture, Miami, Florida; Arkansas Arts Center, Little Rock, Arkansas; Archer M. Museo de Arte Moderno, Mexico D.F.
Figurative-Abstract, Archer M. Huntington Art Gallery, Midtown Art Center, Houston, Texas; Arvada Center Huntington Art Gallery, University of Texas, Austin, Museo de Monterrey, Monterrey, Mexico
University of Texas, Austin, Texas for Arts and Humanities, Denver, Colorado Texas; Art Gallery of Hamilton, Ontario, Canada; Museum of Art- Deland, Florida
1988 Nocturne Portraying the Night, Kansas City Art Institute, Latin American Artists in New York, Arteconsult Oklahoma Art Center, Oklahoma City, Oklahoma Neuberger Museum, State University of New York, Purchase,
Kansas City, Missouri International, Boston, Massachusetts 1975 Nine Cuban Artists, Saint Peter’s College Art Gallery, New York
Blues and Other Summer Delights, Nohra Haime Gallery, Pastels, Nohra Haime Gallery, New York Jersey City, New Jersey Patricia and Phillip Frost Art Museum.
New York Gallery Artists-Recent Work, Nohra Haime Gallery, Art in the Kitchen, Westmoreland Museum of Art, Perez Art Museum Miami – PAMM
La Naturaleza Muerta, Galería Iriarte, Bogotá, Colombia New York Greensburg, Pennsylvania University Museum, University of Pennsylvania, Philadelphia,
1986 Landscape, Seascape, Cityscape 1960-1985, Contemporary The Art of South America, Saint Paul’s Companies, Saint Thirty-Ninth Annual Midyear Show, Butler Institute Pennsylvania
Arts Center, New Orleans, Louisiana. This exhibition Paul, Minnesota of American Art, Youngstown, Ohio Vassar College Art Gallery, Poughkeepsie, New York
traveled to: New York Academy of Art, New York; Julio Larraz-Hugo Robus, Blue Hill Cultural Center, 1974 American Still Lifes, FAR Gallery, New York Westmoreland Museum of Art, Greensburg, Pennsylvania
City Art Gallery, Raleigh, North Carolina Pearl River, New York Paintings available for the Childe Hassam Fund Purchase,
V Bienal de Artes Gráficas, Museo de Arte Moderno, 1983 Still Life - Thematic Survey, Zin-Lerner Gallery, New York American Academy of Arts and Letters and National
La Tertulia, Cali, Colombia Maestros Latinoamericanos: Obras sobre papel, Galería Institute of Arts and Letters, New York
Maestros en la colección del Museo, Museo de Arte Arteconsult, Panama City, Panama The Fine Art of Food, Galleries of the Claremont
Moderno, Bogotá, Colombia Group Exhibition, Rossi Gallery, Morristown, Colleges, Claremont, California
The Mount Aramah Exhibition, Orange County New Jersey
Historical Society, Arden, New York 1982 Clouds, Stuart-Neill Gallery, New York
Major Works Gallery Artists, Nohra Haime Gallery, Inaugural Exhibition, Mary Anne Martin Fine Arts,
New York New York
Pastels, Aleman Galleries, Boston, Massachusetts Diciembre en Iriarte, Galería Iriarte, Bogotá; Colombia
and Bonino Gallery, New York
98 99Antonio J. Ascaso R.
Director
Antonio G. Ascaso
Sales Director
Director de ventas
Gustavo A. Ascaso
Human Resources Assistant
Asistente de Recursos Humanos
Robert Salcedo
Operations Manager
Manager de operaciones
Joaquín Gabaldón
Financial Controller
Control Financiero
Belarmina de la Torre
Assistant Director | Sales
Asistente del Director | Ventas
Emile Berteau
Gallery Assistant | Sales
Asistente | Ventas
Nuria Richards
Museum Relations &
Exhibition Program
Relaciones con Museos
y Programas de Exhibición
MIAMI
Miguel Capriles 1325 NE 1st Av.
Public Relations Miami, FL 33132, USA
Relaciones Públicas
2441 NW 2nd Av.
Julio Mora Miami, FL. 33127, USA
Art Handler
Montaje T: (305) 571.9410 / (305) 571.9411
F: (305) 640.5787
ascasogallery@gmail.com
ascasogallery
@ascasogallery
CARACAS
Avenida Orinoco, entre calles
Mucuchíes y Monterrey
Urbanización Las Mercedes
Caracas, 1060, Venezuela
T: +58 (212) 993.6862
galeriascaso@gmail.com
VALENCIA
Calle Uslar, casa N.° 92-36
Urbanización Trigal Centro
Valencia, Venezuela
T: +58 (212) 843.6144
galeria.ascaso@ascasogallery.com
www.ascasogallery.comTambién puede leer
