"Stormy Coast" by famed painter, Jose Vives-Atsara available at J.R. Mooney Galleries

The legend Jose Vives-Atsara. A perfect painting called "Stormy Coast" to post this week with all this bad weather. This painting is a wonderful example of the artist's use of the palette knife; full of drama and energy, but not the typical Texas landscape.

See more of Jose's artwork on our website at:

http://www.jrmooneygalleries.com/index.php?route=product/product&page=2&manufacturer_id=272&product_id=3226

Jose Vives-Atsara was born in Vilafranca del Panades in the Catalonian region of Spain on April 30, 1919. He began painting at the age of eleven and had his first one man show at the age of fourteen. He studied art at Saint Raymond College and the School of Fine Arts in Barcelona. In his life, he often referenced nature itself as his most inspirational teacher. Mr. Vives-Atsara came to San Antonio in 1956. Within twenty years, he bacame one of Texas most distinguished artists. His use of a palette knife in painting allowed for blending rich, pure pigments into a powerful statement of color directly on the canvas. This style produced works that are distinctively Vives-Atsara. Jose Vives-Atsara is represented in such collections as the Museum of Modern Art, Spain; Fort Worth Art Museum, Texas; His Royal Highness Juan Carlos, King of Spain; the Vatican; and the State Capitals of many of the southern United States. His work is also in many private collections in the United States, Spain, Mexico, and Venezuela.

Art Consultant Spotlight: “Village & Church in Catalonia, Spain” by José Vives-Atsara

 “Village & Church in Catalonia, Spain” by José Vives-Atsara oil, 16" x 20"

When I look at this landscape painted by Vives-Atsara, I cannot help but to reflect upon the painter’s personal history and the many obstacles he overcame in order to reach his goal of living in the United States. The artist, originally from Catalonia, fought in the Spanish Civil War and was eventually taken as a prisoner of war. In the book, “José Vives-Atsara: His Life and His Art” by Nancy Glass West he reflects upon that time in his life. He shares an account of the train ride to the internment camp where he was held. The conditions during the trip were horrendous. He was forced into a boxcar with sixty or seventy men for the five days it would take to reach the camp. Vives-Atsara describes men crammed on top of one other, with only a small opening at the top of the boxcar. He was pushed to the floor and unable to move. He survived on sardines and oil from the can. Despite the deplorable conditions and the desperate times, the artist remained hopeful, saying, “I saw men during those five days who just gave up. I never thought I was going to die. I brainwashed myself to believe everything would work out. When you depress yourself, see things only from the negative side, you are lost. It is amazing what the human body can stand. Somehow, in a crisis, you manage to multiply yourself.”   Eventually, with the help of his father, he was released and reassigned to Franco’s army. After some time he was allowed to go home, a place he had not seen in a very long time. When I look at “Village & Church in Catalonia, Spain” I can’t help but envision the artist, or other countrymen like him, after a long journey skulking through the night, risking everything to see their families. They are tired and weary, but overcome with joy by the familiar sight and the pathway home.  

Quote: “José Vives-Atsara His Life and His Art”, Nancy Glass West, page 20.

©Gina Martinez, Art Consultant, J.R. Mooney Galleries, Boerne,TX

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Tragedy of a Neo-Expressionist

Neo Expressionism -- a continuation or progression from the Abstract Expressionism movement aligns with similar ideologies, characteristics and aesthetics of the American claimed school; color intensity, automatic painterly response to automatic drawing, emotional color outpours, and full body gestures.

From color field painting to action painting, the New York artists of 1940’s- 1960’s made a name for themselves after World War II.

C. Nesvadba

Neo Expressionists took to presenting more recognizable subjects, but still dealing with topics and themes in an emotionally charged approach, relying on remarkably intense hues and studious color compositions.

The artwork of Christian Nesvadba celebrates all that is Neo Expressionism, with his semi abstract flower compositions that seem to emit a radiant botanical bounty of color.

Draped in bloodshot crimson and powerful reds, Nesvadba’s color palette invigorates an emotional response.

In Abstract in Multicolors, puffs of light blue and yellow ochre highlights bounce around the inflamed hues that electrify the composition, giving us refreshing bursts of playfulness among intense emotional repose.

Slate greys, muted muddiness and absence of color anchor the painting -- a heavy blanket covering the lower half that make the upper rubicund section seem to float; held up by the black gestural lines within the thick haze of palette scrapes and brashness.

Although the selections appear to be bouquets of flowers, Nesvadba conceals their identity in abstract amorphousness. The squiggles, automatic mark making and linear scribbles attach themselves to the base of the ambiguous blobs, reminiscent of a Cy Twombly-like fashion of writing.

With a life, cut short by a tragic fatal car accident, Christian Nesvadba’ s paintings will only escalate in value due to his signature look, quality of work, and shortened exhibition history – including solo exhibitions in Salzburg and Linz, and a select showing at the  Galerie Otto in Vienna.

© Gabriel Diego Delgado/  J R Mooney Galleries


Christian Nesvadba
Abstract in Multicolors
24” x 31”
$4,815 w/frame
Oil on Canvas