Giorgio de Chirico

Giorgio de Chirico, “The School of Gladiators, The Fight”, 1928, Oil on Canvas

De Chirico always believed that his early academic training was vital in preparing him for his later work, and this conservative attitude set him apart from other modernists – particularly from the Surrealists who did so much to elevate his reputation. In the 1920s this outlook grew into a renewed belief in the value of craftsmanship and the Old Masters tradition, and it directed a shift in his style towards greater detail, richer color, and more conventionally accurate modeling of forms and volumes, as well as more emphatic references to Renaissance and Baroque art.

Giorgio de Chirico’s “The School of Gladiators: The Fight”, is part of a series of sixty paintings on the theme of gladiators, which de Chirico painted between early 1927 and 1929. Contrary to how he was executing his Metaphysical Period paintings of the 1910s, de Chirico in the 1920s applied thick, dense, short brush strokes. Moreover, the palette changed, becoming more hearty and brownish.

Phyllis Stapler

Phyllis Stapler, “The Moon Hare”

“Dream is the personalized myth, myth the depersonalized dream; both myth and dream are symbolic in the same general way of the dynamic of the psyche. But in the dream the forms are quirked by the peculiar troubles of the dreamer, whereas in myth the problems and solutions sown are directly valid for all mankind.”

         Joseph Campbell, The Hero With a Thousand Faces

Joan Ponç

Joan Ponç, “Fisik”, 1981, Oil on Canvas

Joan Ponç was born in Barcelona in 1927. His training as an artist began by studying painting in the workshop of Spainish painter and draughtsman Ramon Rogent. Ponç presented his first exhibition at the Sala Arte de Bilbao at the age of twenty.

Soon after his exhibition, Ponç founded the magazine “Dau al Set”, along with other great artists such as Joan Brossa, Modest Cuixart, Arnau Puig, Joan-Josep Antoni Tapies and Tharrats. This magazine meant the reviving of the creative impulse in post-war decayed Barcelona, Over the next couple of years, Ponç actively interacted and collaborated with forerunners of the Catalan avant-garde, such as Modest Cuixart and Joan Miró. Though the Dau al Set group ultimately disbanded in 1954, Ponç continued presenting his own artwork until 1980.

On April 4, 1984, Ponç died of a heart attack while at his home inSaint-Paul-de-Vence, France. Four days later, he was returned to his residence and workshop in La Roca del Vallés, near Barcelona, for burial.

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