¿Quieres suscribirte a nuestras comunicaciones? Adelante
(…) it might seem the most “phosphorescent” of all the pictures from this period. On a gigantic scale he literally painted a strip of matches from a matchbook. But the viewer immediately finds themselves attracted by the arrangement of the pigment on the surface of the canvas; a dispersal which, by aptly leaving its base, creates a seductive world through its changing tonalities.
JULIO JUSTE
On a symbolic, or even spiritual level, the arch or the oval signify refuge, the promise of protection and shelter, and this is probably why someone as emotional as Guerrero was so especially fond of them.
MARÍA DOLORES JIMÉNEZ-BLANCO
After several years experiencing the freedom of abstract expressionism in America, I am now seeking greater construction, greater clarity and more specific forms than before. I am discovering these forms everywhere – in columns, pillars, fences, piles of wood on the docks, vertical thrustings, horizontal tensions, diagonal crossings. I have recently been fascinated by the parallel lines of matches. Together or separately they form ordered, rhythmic models. For me they are infinite variations on a single theme.
JOSÉ GUERRERO
The work he made during the late sixties is where what could be called the Guerrero system became consolidated. This was when he began to give great importance to the borders, the frontiers, the areas where some colours coexisted with others. This was when he finally realized that, more than the action itself – and of which there was to be more – what interested him was for the colour to flow, for the painting to breathe, for the picture to be like a boxing ring, tensed along all four sides, vibrant, luminous, and charged with energy.
JUAN MANUEL BONET
(…) transparent allegory, in ochres, greys, reds and blacks, of the murder of Federico García Lorca, a picture he began to paint in New York and finished in Madrid, and of which he was to make new versions on two more occasions (1979-1980 and 1989).
JUAN MANUEL BONET
The version from 1966 is like the image of a bleeding wound. It is an approach, the first sight of the location of a tragedy, against which there is no alternative but the irreparable anguish of pain and rupture. Recomposition is impossible because the pain is too recent and intense.
SANTIAGO B. OLMO
When the ball was passed to me I always missed it, because I was looking at the Alhambra, the landscape of Sierra Nevada, and I missed them all, just because I was thinking about colour and the beauty of the landscape.
JOSÉ GUERRERO
When I went back to Granada, I spoke with my mother a lot about all the things that had impressed me in my childhood…, the dead and the niches…, and the idea of that arch…, it was all very clear to me already…
JOSÉ GUERRERO
I had already painted some semi-abstract pictures in Europe, but real abstraction was to come over there, in touch with those painters that had made such an important revolution that not even the Europeans could understand it.
JOSÉ GUERRERO
In the mid fifties gestures began to unfold over that superstitious fabric of prophecies and ancestral motifs that constitutes the basis of Guerrero’s painting. The swift movements of his hand surprised even the artist himself – ever more visible gestures enlivening the entire surface of the canvas until they threatened the legibility of the signs.
GUILLERMO SOLANA
His vision of the landscape has generally been allusive and elliptical, concentrating on subtle elements used as evocative references. In a way, a tacit complicity in code was established with the viewer and made use of tangential, associative and even symbolic movements. The titles fulfilled the function of an initial evocation, but later deployed other more pictorial tools to place the picture beyond the theme.
SANTIAGO B. OLMO