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Jose Vilato Ruiz
Jose Fin self portrait original oil on canvas painting
1935

About the Item

Frame size 64x53 cm. José Vilató Ruiz (Barcelona 1916-Paris 1969) was a Spanish painter and engraver known by the pseudonym J.Fín. He was the brother of also painter Javier Vilató and nephew of Pablo Ruiz Picasso. Son of the Barcelona neuropsychiatrist Joan Vilató and Lola Ruiz Picasso, he is the second of 7 brothers, among which is also the painter Javier (1921). The appellation of Fín has a family origin: José, Josefín, Fín. The family environment will mark his pictorial vocation. Works such as Science and charity as well as other paintings of his uncle are hung on the wall of his house and for many years, the famous Harlequin was hung on the head of his bed, just as the historian Pilar Vélez, biographer of the artist. 1 Many of these works are currently in the Picasso Museum in Barcelona. Quickly, his interest in painting passes ahead of his studies and at the age of 14 he begins to make his first works, which he will present for the first time in a collective exhibition at the Emporium Galleries in Barcelona in 1932. He briefly passes by the prestigious La Llotja and after finishing high school in 1934, he made a brief stay on the island of Mahón, where he continues painting and for the first time he lives alone. The works he paints on this trip and others will be part of his first individual exhibition at the Reig galleries in Barcelona, in 1935 and in which the painter and art critic José María de Sucre will make the presentation text. According to his friend, the painter Antoni Clavé, these works had a surreal character that was not present in his previous or subsequent works, but none is preserved, probably due to the bomb that destroyed his studio during the Civil War After the war broke out, his exhibition activity was interrupted and he joined the republican army, marching to the front of Aragon, where he met Manuel Viola. Later he will be sent to Tárrega, where he will establish a lifelong friendship with Francesc Melich, who will edit his prints in the future. In 1939 he meets his brother Javier, also mobilized and crossing the border with France. There they will be admitted to the Argelès-sur-Mer concentration camp, where they will be able to leave thanks to the intervention of their uncle, Picasso. Welcomed in Paris by their uncle, the Vilató brothers return to painting. The work of Fín of those months in France moves away completely from his work in Barcelona: dark oil paintings and drawings, of sculptural character and great modernity. In those months, he approaches the graphic work for the first time in the Lacourière workshop where many of his uncle's engravings were stamped. They spend the summer with Picasso and the beginning of World War II forces them to return to Barcelona in 1939. After spending a few days in the prison of Figueres, he settled in Barcelona. Among his first activities will be to participate in a collective exhibition for the benefit of concentration camps. At first, his work acquires a surreal character with a series of paintings and engravings that he called "Fafarreic compositions", a term invented by the artist. However, in 1940, he returned to his previous painting, a sober figuration. They will be hard years in which he will combine his painting with the work of a decorator, restoring, for example, the dome of the Church of the Immaculate Conception of Aragó Street in Barcelona. At the end of 1940, he is forced to perform military service in Madrid, which will allow him to visit the Prado Museum. Taking advantage of the permits, he returned to Barcelona and continued painting and maintaining a certain exhibition activity, coming to share a gallery with Manolo Hugué, Eduardo Yepes or Llorens Artigas. 1943 will be a key year for Fín, he will end military service and return to Barcelona. Get a workshop and make friends with the painters Ramon Rogent and Alberto Fabra, with them and his brother Javier will hold various collective exhibitions of painting and engraving, among which the engraving exhibitions of the Pictoria gallery or the participation in the National Exhibition of Fine Arts, both in Barcelona, or the one held at the Clan gallery in Madrid with, among others, Rafael Zabaleta, Álvaro Delgado or Luis Castellanos. Fín would refine the engraving technique in the artistic workshop of his friend Francesc Melich, which will be installed in 1945, leaving his former workshop to Joan Ponç. It will be his last moments in Barcelona, since in the autumn of 1945 he will be awarded a scholarship by the French Institute with his brother Javier and Alberto Fabra and will settle permanently in Paris. In the French capital, Fín regains contact with some of his friends like Antoni Clavé, and settles in La Ruche. La Ruche (in French, the beehive) is a circular building that since the beginning of the 20th century welcomed different artists. They had passed through Fernand Léger, Amadeo Modigliani, Ossip Zadkine or Chaim Soutine, among many others. However, on the arrival of Fín, as his nephew Xavier recalls, it was a place “devastated, empty of almost all of his artists due to deportation and the tragic years of World War II, nicknamed“ Villa Medicis of Misery ”… 2 . . Perhaps because of this, his painting undergoes an abrupt change: he goes into abstraction, he does it with sober works, with poor materials and often coal. They will be very productive years artistically but with very hard living conditions. It is a cold and dirty place, where he can barely sleep and where he fed on what he called "soupe de cailloux" (pebble soup, in French). These penalties will affect your health, causing your premature death in the future. In the 50s he settled on rue Santeuil and, already integrated into the group of Spanish artists in Paris (he will participate in exhibitions with, among many others, Oscar Domínguez, Baltasar Lobo, Antoni Clavé, Hernando Viñes) ... his work, both in painting and engraving, he will progressively return to figuration. In that decade the exhibitions will happen in Paris, but also in Barcelona, the city to which he returns to exhibit at the Sala Gaspar. This return will allow you to strengthen your relationship with Catalonia, as you will begin your summer stays in Port de la Selva, where you will paint a long series of maritime landscapes. In these years, he will also continue with an intense activity as an engraver presenting various individual exhibitions of graphic work. The one held in 1955 at the Vernuil gallery in Paris had a preface by Jean Cocteau .1 The years of hardship in La Ruche take its toll and in 1952 it is the object of a delicate operation that will mean the almost total excision of the stomach, something of which will never recover completely. However, on a personal level, months after this operation he will meet Colette Jacquemin who will be his partner until his death. The decade of the 60 represents a new evolution in his painting, he enters what Joan Ainaud de Lasarte calls "period of poetic liberation", 3 in which he will paint still lifes presided by musical instruments or compositions with fish and birds of great gestures . In 1962 he will settle in Montmartre, where he will have his last workshop. There he will work intensely despite his precarious health. He will participate in individual and collective exhibitions throughout France, Switzerland, Bahamas ... He makes a great effort for his last exhibition: a triple show at the Grifé and Escoda galleries in Barcelona, Madrid and Palma de Mallorca in 1965 .3 In the last two years of his life he will be forced to rest during daily hours. He will work on the decoration of ceramic dishes and leave several unfinished fabrics. On March 8, 1969 he dies in Paris, a few days later his remains will be taken to the Cemetery of Poble Nou, where he will be buried with his family. Rafael Santos Torroella framed Fín in what he calls the lost generation, the first artists who, before the Dau al Set group tried to renew the Barcelona art scene, 1 and Joan Ainaud de Lasarte places four major stages in his work: figurative until 1946, the abstract from 1946 to 1949, the return to figuration from 1950 to 1960, and its final era, that of poetic liberation .3 He always had the ambition to be independent and create a personal work, and in that sense There are two quotes from Picasso that define him. On his work, when visiting his nephew's exhibitions he exclaimed “finally a young man who does not try to imitate me” 1 and when in 1970 he made an important donation of work for his museum, he remembered Fín saying “… I especially loved Pepe Fine (...) Pepe was exceptional. He has died young, he did not have time to develop in his painting the great talent he had (...) He was very discreet. He never took advantage of my name or asked me. That's why I loved him so much! ” After his death, his work has been widely claimed. A few months after his death he exhibited at the Madaura de Vallauris gallery and in 1971 the Barcelona City Council organized a complete retrospective of his career. From the 80's, the Dalmau Hall in Barcelona has presented its work in various individuals and groups and in Paris the Saga gallery will make an exhaustive distribution of its graphic work. .4 At the institutional level, the National Library of Catalonia is a depository of much of his work as an engraver and in 1998 he presented the exhibition “J.Fín (1916-1969). Gravats. " In the catalog of the same, the director of the graphic unit of the library, Francesc Fontbona referred to this collection as follows: “(…) The set is a strong corpus, of extraordinary quality, which reveals in J.Fín a dimension unsuspected chalcographic for most. It is, therefore, a unique set that, apart from its great aesthetic merit, has the courage to show us step by step the creative stages of the artist (…). ”3 In 1996 his work becomes part of the MACBA collection 4 and in 1998, the Reina Sofía Museum acquires the work “Abstraction”, a large format piece from its time in La Ruche5. These institutions will be added, among others, to the Museum of Modern Art in Paris or the Pompidou Center. .4 In 2008, the Vila Casas Foundation in Barcelona presented the retrospective “J.Fín a les col • leccioness de Barcelona”, focused on the artist's work in his hometown and offering a complete vision of his entire career. On the occasion of this exhibition they acquire the work “Great curtain” that becomes part of their permanent collection. The specialized critic has also praised his career, in 1996, Xavier Barral i Altet, doctor of art history and director of the National Museum of Art of Catalonia, pointed to the figures of Fín and Ramon Rogent: “(…) 1955 marks the passing from painting to matter, from illusory color to sober reality. We are interested in previous years. It is not true that Catalonia did not have its own contemporary art made by post-war youth before Antoni Tàpies. This dominates the second part of the century. The others, the Fín and Rogent, will also have their place in the pantheon of Catalan art. ” .7 Josep Maria Cadena art critic in the newspaper of Catalunya wrote about one of his exhibitions in the Dalmau Hall: “(…) he would die in Paris in 1969, when he was still relatively young and in his last years the illness he suffered had not allowed him Fully develop your creativity. But in both painting and engraving he left enough work for us to have him in higher artistic esteem. ” .8 The journalist Lluís Permanyer, claimed the abstract work of Fín in an article in La Vanguardia focusing on one of his paintings: "(...) He titled" Composition "and plasma according to the purest, most severe abstraction, in which he combines with mastery Effective painting and collage: pushpins hold a subtle linear network based on string. The result is promising: peat, restless and dazzle. There are still to clarify and value not a few aspects of the birth of abstraction in that postwar period. It is in this context that Fín deserves a review. ” .9 From October 25, 2017 to January 28, 2018, the Picasso Museum of Barcelona presents the exhibition “The shared workshop. Picasso, Fín, Vilató, Xavier ”, which claims the work of graphic work by three generations of artists from the same family.

Creator:
Jose Vilato Ruiz (1916 - 1969, Spanish)
Creation Year:
1935
Dimensions:
Height: 24.02 in (61 cm)Width: 19.69 in (50 cm)
Medium:
Canvas,Oil
Movement & Style:
Expressionist
Period:
1930-1939
Condition:
Gallery Location:
Barcelona, ES
Reference Number:
1stDibs: LU115525834331

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