José María Yturralde (1942)
Cuenca
Cuenca
Jose María Yturralde recaptures the Renaissance tradition, which conceives Art as a discipline indebted to arithmetic and geometry. He returns to blow perspective apart and to create his own universe of infinite dimensions.
Yturralde became acquainted with the Vanguards, when he was very young, through artists such as Kandinsky, Le Corbusier, Vasarely or Julio González. During the 1960s he experimented with Geometric Abstraction and monochromy, evolving towards Kinetic Art, starting with his collaboration with the group “Before Art,” founded by the critic Aguilera Cerni.
His impossible figures arise as the fruit of the study of space through new technologies. It was at the Center for Advanced Visual Studies at MIT (Massachusets Institute of Technology) where the initiating trip took place, a trip that would lead him to definitively include technical-humanism duality among his cultural baggage. Yturralde loves science, and he is a pioneer in the use of lasers, holograms and video to hypnotize the spectator with unbelievable figures in an everyday reality.
Yturralde breaks through his final frontier and goes beyond it. Although concern for pictorial space has been a constant factor in his career, by the early 1990s it had become of vital importance. Reflections over empty space as their containers link with the concept of the beginning of all things, the horizon where the universe is created.
And, of course, there is color. Yturralde has focused on the study of the influence of color on emotions for the last few years, while the surfaces he paints have become full of subtle shades that simulate monochrome.
In 1994 he was awarded the chair of Painting at the Faculty of Fine Arts in Valencia, where he had been professor of Coloring since 1980. He has traveled all over the world, giving lectures and participating in congresses such as “Color Dynamics” in Budapest.
At the present time he continues to work daily in his studio and to actively participate in the sessions of the Royal Academy of Fine Arts of Valencia, of which he is an official member.
Yturralde became acquainted with the Vanguards, when he was very young, through artists such as Kandinsky, Le Corbusier, Vasarely or Julio González. During the 1960s he experimented with Geometric Abstraction and monochromy, evolving towards Kinetic Art, starting with his collaboration with the group “Before Art,” founded by the critic Aguilera Cerni.
His impossible figures arise as the fruit of the study of space through new technologies. It was at the Center for Advanced Visual Studies at MIT (Massachusets Institute of Technology) where the initiating trip took place, a trip that would lead him to definitively include technical-humanism duality among his cultural baggage. Yturralde loves science, and he is a pioneer in the use of lasers, holograms and video to hypnotize the spectator with unbelievable figures in an everyday reality.
Yturralde breaks through his final frontier and goes beyond it. Although concern for pictorial space has been a constant factor in his career, by the early 1990s it had become of vital importance. Reflections over empty space as their containers link with the concept of the beginning of all things, the horizon where the universe is created.
And, of course, there is color. Yturralde has focused on the study of the influence of color on emotions for the last few years, while the surfaces he paints have become full of subtle shades that simulate monochrome.
In 1994 he was awarded the chair of Painting at the Faculty of Fine Arts in Valencia, where he had been professor of Coloring since 1980. He has traveled all over the world, giving lectures and participating in congresses such as “Color Dynamics” in Budapest.
At the present time he continues to work daily in his studio and to actively participate in the sessions of the Royal Academy of Fine Arts of Valencia, of which he is an official member.