Huile sur toile - Signé à la main - c.1940
|Artiste:||Francesc Domingo Segura (1895 - 1974)|
|Titre de l'œuvre d'art:||Retrato de perfil|
|Technique:||Huile sur toile|
|Signature:||Signé à la main|
|État:||Dans l'ensemble en bon état avec des traces d'ancienneté et d'usure|
|Vente avec cadre:||Oui|
|Taille de l’image:||55×47 cm|
|Dimensions totales:||80×71×4 cm|
The painting is signed “Domingo” at the bottom
It is in good condition
Dimensions of the work: 55 cm height x 47 cm width
Dimensions of the work: 80.5 cm height x 71.5 cm width
Biography of Francesc Domingo Segura (Barcelona, 1895 - Brasil, 1974).
Francisco Domingo Segura, was born in the village of Sants, (added to the city of Barcelona in 1895), on the 3rd of April of 1893. His father was the regent of the bar of the athenaeum of the village and, as a child, he already knew the atmosphere of social groups. He was trained in painting and engraving at the school of fine arts in Barcelona and in 1918 he joined the newly formed Agrupación Cubert (precursor group of the Catalan avant-garde from the 1920s) where he interacted with artists such as Joan Miró, Josep Obiols, Luís Llimonas , José de Togores etc. Despite his many evolutions, he has always maintained a concern for structuralism, the result of his admiration for Cézanne.
During his Paris period (1922-27), he approached Cubism, improving the colour of his palette. From 1927 to 1931 he lived in Britany, where he developed his spectral period and tried the lineal, shading graphism. His “Maternidad” from this period is very close to Fernand Léger’s (1881-1955) best works. In 1931 he returned to Barcelona and evolved towards more classical positions, cultivating a social realism, devoid of demagoguery, idealizing the proletariat’s leisure time, and other collective themes that he already started to cultivate during his first years in Barcelona. The preciosity of this style made him acquire a well-deserved prestige as a portrait painter.
After the Spanish Civil War (1936-39) in a Barcelona devoid of artistic enthusiasm, he was influenced by the general bewilderment and, after ten fruitlessness years, he decided to emigrate to South America. On the 30th of April 1950 he arrived to Buenos Aires under the protection of his friend, the art promoter and editor Joan Merli (Barcelona, 1901-1995), also an outcast from the Civil War who resided in Argentina’s capital since 1940. Here, Domingo found the support of Merli’s friends, and his diligent technique of the portrait provided him with the necessary income to lead a decent life.
However, his obsession was Brazil. On his way to Buenos Aires, he was captivated by the port of Santos. In his words ‘due to the green of the mountains on the background and specially because of the plastic vitality of its light”. His brothers-in-law and his friend Monfort lived in Sao Paulo. Thus, fulfilling his wishes, he arrived in Sao Paulo on the 23rd of August 1951, and he settled his permanent residence there. In Sao Paulo he taught drawing, painting and specially, engraving. He also opened an art gallery. There, he also met other Catalans, such as the musician Miquel Arquerons Verdaguer, who was the director of the Coral paulistana, the painter Pedro Tort, the editors Monfort and Mestre Jou, the photographer and collector Marcel Giró and the Faus, traders of cotton and coffee.
For Domingo, this Brazil period interrupted, or maybe brought to an end his previous pictorial career: Paris, Brittany and Barcelona remain like a whole in his rich artistic pilgrimage and this is reflected in the paintings exhibited in museums and private collections which, in their own right, could be in any well-documented anthology of the Catalan painting of the 20th century.
The truth is that Domingo was always a man true to himself, to his time and environment, without succumbing to the temptation of the prevailing fashion. His strong personality did not prevent him from being respectful of the living habitat; he rather became a transmitter of its atmosphere and details, devoting to this end all his pictorial scheme, his stroke, his palette and his expressive concept of painting.
The paintings and engravings made during his 23-year stay in Sao Paulo (he died in 1974) are a clear reflection of the respect and love he felt for his land of adoption. His painting “homenagem a la mae preta: is a beautiful tribute to the Brazil of the 1950s. I think that in 1973 or 1974, Sao Paulo paid him a well-deserved tribute. In 1967 and 1973, he held two exhibitions of his Brazilian works in Barcelona.
However, Domingo did not forget his homeland. In 1972 a Catalan magazine published a questionnaire that Domingo answered in writing at the age of 79. To the question if he thought about returning to Catalonia, he replied: “ Coming back...! no one can make projects for the future. We live in Brazil as Catalans, thinking of Catalonia and for Catalonia”. As we have already said, Francisco Domingo Segura died in Brazil in 1974.
He could not come back to his homeland, but he died in that land which was able to fascinate him due to the plastic vitality of its light.
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|Reste de l'Europe||28,00 €|
|Autres destinations||90,00 €|
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