Joan Hernández Pijuan (Barcelona 1931-2005) studied at the School of Fine Arts in Barcelona, an institution to which he returned between 1992 and 1997, when he was appointed dean of the school, which by then was part of the University.

After completing his studies, Hernández Pijuan became a founding member of the group Sílex in 1956. The following year, during a brief stay in Paris, he discovered Art Informel and set aside the geometrical style he had initially favored. The dramatic black paintings he produced in the late 1950s refl ected contrasts of light and darkness, as well as a contained violence. These features showed his work to be closer to trends in vogue in Madrid at the time—in particular in El Paso—than those that prevailed in the Barcelona art scene.

Hernández Pijuan later abandoned Abstract Expressionism in favor of a more reserved and restrained approach. His became a universe of graph paper, rulers, set squares, and geometric structures that entrapped an apple here, a glass there, and a lonely tree further away. However, it was not until he had systematized his method, thus moving closer to the principles of Post- Minimalism and the Spanish movement Painting-Painting, that the artist eventually discovered the fundamental subjects of his work: fl owerpots, houses, and still lifes, in short, poetic, free, and primary elements.



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