Brita Prinz Arte

Barcelona (1913) – Saint-Tropez (2005), was a Catalan painter, engraver and sculptor.

Clavé's work is often part of the School of Paris along with that of other artists such as Pablo Picasso, Juan Gris, Joan Miró or Antonio Saura. In the 1950s, he began an intense work in the world of ballet and theater, using mannequins and achieving fame in the world of international stage design. At the same time, he began work on illustrations of the work Gargantua and Pantagruel, which led him to familiarize himself with a medieval iconography that he developed in his series on warriors, kings, queens, and knights.
 
In the 1960s his works reflect the influences received from the classics and baroque authors. The theme of the knight with his hand on his chest takes on special relevance, a reference that will be repeated in Clavé's future works. This period is characterized by the definitive passage to abstraction.
 
In the 1970s the evolution of his work continued, in which he used various techniques such as collage, inventing new techniques such as papier froissé and re-inventing others like carborundum.
 
In 1984 the Spanish State recognized his artistic value with the exhibition of more than 100 of his works in the Spanish pavilion of the Venice Biennale.

Rot an der Rot (1909) - Eningen (1981), was an artist known for his large-format woodcuts. Between 1931 and 1933, the artist lived abroad, in London, Paris, Egypt, and Greece, working as an illustrator and graphic artist for Vogue and other magazines.
Around the same time, the artist began experimenting with woodcutting.

After being banned from painting and exhibiting, following the rise of the Nazi party, Grieshaber continued to show his works in secret. He reluctantly joined the army in 1940, and was captured by the Belgians in 1945. After returning to Germany, Grieshaber turned his attention to creating large-scale woodcuts and posters.
His prints began to incorporate more color, as well as elements from nature and mythology.

Grieshaber was the recipient of numerous awards and retrospectives throughout his career. He exhibited works at documenta in 1959 and 1964, and was elected a correspondence member of the Akademie der Künste in East Berlin in 1978.

Barcelona (1927) – (2007), was a Catalan painter most famous for his informalist or abstract expressionist work.

In 1951, he produced his first engravings entitled 'Homage to Federico García Lorca. Two years later, he was awarded a grant from the French Institute to study in Paris for nine months. Here he discovered the work of Matisse and Picasso and travelled to Belgium, Holland and Germany.

On his return to Barcelona and after a period working as an illustrator and set designer, around 1957 he began moving towards abstract expressionism. His work is highly unconventional and usually on a large scale, using a wide range of materials, three-dimensional objects and organic substances such as eggshell, earth and straw.

In 2006 he designed the winery Mas Blanch i Jové in La Pobla de Cérvoles (Lleida) and created The Artists' Vineyard, a project intended to mix sculptures and other art works from different artists in the middle of a vineyard. The Artists' Vineyard was inaugurated after his death in 2010 with the unveiling of his sculpture The Countryside Organ: a music instrument, 6 meters height, for the wind to sing the vines.

Arrecife (1919) – Tahíche (1992)

After completing his studies at the San Fernando Academy of Fine Arts in Madrid (where he lived between 1945 and 1964), he moved to New York, where he exhibited individually three times at the Catherine Viviano Gallery. Direct knowledge of American abstract expressionism, pop art, new sculpture and kinetic art provided him with a visual culture essential to his subsequent creative trajectory.

In the mid-sixties, coinciding with the transfer of his residence to Lanzarote, César Manrique promoted a series of artistic projects of a spatial and landscape nature on the island, where he captured his artistic and ethical thinking. They were a set of actions and interventions aimed at enhancing the landscape and natural attractions of the island, which will shape its new face and its international projection.

He developed a new aesthetic practice, which he called art-nature/nature-art. His landscape works are a unique demostration of this way of thinking, as well as great example of public art in Spain: Jameos del Agua, Mirador del Río, Cactus Garden, Timanfaya, etc. Works of this nature were also carried out by Manrique on other islands and outside the Canary Islands, but always maintaining his basic characteristic features: respectful dialogue with the natural environment and the connection between the architectural values of the local tradition with modern conceptions.

Benevento (1948)
Italian painter. He studies at the Benevento Artistic Lyceum between 1964 and 1968.
In 1977 he moves to Milan, developing in the late seventies a monochrome style that incorporates objects.
In the 80’s he joins the transvanguardia, a movement that participates in the general trend of the return to painting, adopting a figurative allegorical style derived from Christian and classical imagery in combination with the style of European avant-garde.


Sadistic, dramatic or mortuary references emerge in his paintings; pieces full of strange animals, skulls and dislocated bodies that find their main model in wooden sculptures of popular tradition.