Manolo Millares (1926-1972)
Manolo Millares (1926-1972)
Manolo Millares (1926-1972)
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Artist's Resale Right ("Droit de Suite"). Artist's… Read more
Manolo Millares (1926-1972)

Muro (Wall)

Manolo Millares (1926-1972)
Muro (Wall)
signed and dated 'MILLARES 56' (lower centre)
mixed media on burlap
32 x 45 ¾in. (81 x 116cm.)
Executed in 1955-1956
The Artist.
Elvireta Escobio Collection, Madrid.
Galería Leandro Navarro, Madrid.
Acquired from the above by the present owner.
V. Aguilera Cerni, Millares, Madrid 1957, no. 5 (illustrated, p. 15).
C. A. Areán, Millares, Madrid 1972 (illustrated in colour, p. 36).
R. Chávarri, Manolo Millares (II), Madrid 1976, no. 4 (illustrated in colour, p. 4).
J-A. França, Millares, Barcelona 1977, no. 54 (illustread in colour, p. 40).
Manolo Millares Werke Von 1951 Bis 1971, exh. cat., Bielefeld, Kunsthalle Bielefeld, 1992, no. 6 (illustrated, p. 16).
Ministerio de Asuntos Exteriores (ed.), Millares. Luto de oriente y occidente, Madrid 2003, no. 6 (illustrated in colour, p. 47).
A. de la Torre (ed.), Manolo Millares Pinturas Catalogo Razonado, Madrid 2004, no. 77 (illustrated in colour, p. 106).
A. de Torre, Manolo Millares, la destrucción y el amor, La Coruña 2006 (illustrated in colour, p. 68).
Las Palmas de Gran Canaria, Club P.A.L.A., Exposición de arte contemporáneo, 1955, no. 12.
Barcelona, Palacio de la Virreina y Museo de Arte Moderno, III Bienal Hispanoamericana de Arte, 1955-1956, p. 176, no. 280.
Madrid, Ateneo de Madrid, Millares, 1957, no. IV (illustrated, p. 19).
Madrid, Museo Espanól de Arte Contemporáneo, Millares, 1975, no. 19 (illustrated in colour, p. 109).
Toulouse, Musée des Augustins, Manolo Millares (1926-1972), 1982, p. 55, no. 14 (illustrated in colour, p.11).
Pontevedra, Diputación de Pontevedra, VII Bienal de Arte 1983 (Mail Art), 1983, no. 1 (illustrated, p. 20).
Madrid, Sala de Exposiciones de la Comunidad de Madrid, Del Surrealismo al Informalismo. Arte de los años 50 en Madrid, 1991, no. 20 (illustrated in colour, p. 124).
Lanzarote, Museo Internacional de Arte Contemporáneo, Manolo Millares. Pictografias, 1998, no. 13 (illustrated in colour, p. 47).
Alzuza, Museo Oteiza, La sombra de Oteiza en el arte español de los años cincuenta, 2009-2010 (illustrated in colour, p. 125). This exhibition later travelled to Zaragoza, Ibercaja Patio de la Infanta.
Special notice
Artist's Resale Right ("Droit de Suite"). Artist's Resale Right Regulations 2006 apply to this lot, the buyer agrees to pay us an amount equal to the resale royalty provided for in those Regulations, and we undertake to the buyer to pay such amount to the artist's collection agent. These lots have been imported from outside the EU or, if the UK has withdrawn from the EU without an agreed transition deal, from outside of the UK for sale and placed under the Temporary Admission regime. Import VAT is payable at 5% on the hammer price. VAT at 20% will be added to the buyer’s premium but will not be shown separately on our invoice.

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Lot Essay

‘My love of the unknown, my desire of these infinite holes of mystery’ – Manolo Millares

Inky rivers of paint teem down the sewn and scored façade of Manolo Millares’ Muro (Wall). Colour blocks and burlap folds form an evocative and visceral palimpsest, and like a wound sewn back together, Muro offers a duelling vision of destruction and salvation. Millares’ fascination with remnants and ruins dates to his childhood visits to the Canarian Museum in Las Palmas, Canary Islands. There, he discovered the mummified remains of the island’s native Guanches, whose population was decimated by colonial conquest; recalling this profoundly affecting encounter, Millares said, ‘I discovered what man is and, above all, the “finitude” of man. I realised that what I saw – the extermination of a race – had been an injustice. That was the original starting-point for my sackcloths’ (M. Millares, quoted in J-A. França, Millares, Barcelona 1978, p. 94). This memory, along with the torn burlap creations of Alberto Burri which Millares discovered after he moved to Madrid in 1955, proved profoundly influential for his practice. Created in 1956, Muro is one of the artist’s first paintings to feature the gouged burlap that would become his signature material. Frequently discussed in relation to Arte Povera and Art Informel, Millares’ aesthetic choices instead were fundamentally tied to the dark periods of recent history, notably World War II, Hiroshima and the Spanish Civil War. In an age marked by trauma, he sought to represent the human condition, offering redemption through his curative patchworks. In Muro, light streams through the canvas, a restorative, textured quilt that refuses to be extinguished.

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