Julio de Diego Abstract Paintings
American, 1900-1979
Julio De Diego was one of the most colorful artists to work in Chicago. Born in Madrid in 1900, he left home at the age of 15 to apprentice as a scene painter for theatres. After service in the Spanish army, including six months fighting in North Africa, Diego traveled to Paris and Rome to study art. He also appeared as an extra in Diaghilev’s Ballet Russes. He emigrated to the United States in 1924. He lived in New York for two years, then went to Chicago, where he remained until 1942. At first, he earned a living as a magazine illustrator, decorative painter and graphic designer. By the early 1930s, Diego began to show regularly at the Art Institute of Chicago, appearing at thirty-two annual exhibitions of Chicago Artists, American artists and watercolorists, between 1931–47. He was employed by the easel division of the Illinois Art Project during the mid-1930s. He traveled to Mexico for the first time in 1939, becoming close friends with Carlos Mérida. Diego was deeply affected by the Spanish Civil War, and many of his works reflect the conflict that presaged the Second World War. Meditation over Inexplicable Logic seems to be a kind of preparation for his self-portrait in the Art Institute’s collection, titled The Perplexity of What To Do (1940). Both feature isolated, brooding figures lost in their inability to respond to events. He left Chicago in 1942 but continued to exhibit his work at major institutions. In 1946, Life magazine’s article described him spending time “cooking aromatic Spanish dishes and reading works of Spanish mystical philosophers and poets. He smokes cigarettes incessantly and dresses flamboyantly, affecting cerise mufflers and jangling bracelets.” Diego gained more notoriety in 1948 when he married the great burlesque artist, Gypsy Rose Lee. After their separation and divorce in the mid-1950s, he lived for a time in New York at the Chelsea Hotel, a haunt of artists, musicians and poets. Diego settled in Sarasota, Florida in 1967, near former friends from Chicago, where he died in 1979. Daniel Schulman References “Julio De Diego: He Paints Weird War and Peace.” Life Magazine, March 11, 1946. De Diego, Julio. Pamphlet File P-07866. Ryerson Library, Art Institute of Chicago.
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Artist: Julio de Diego
Ceremonial Dancers oil and tempera painting by Julio De Diego
By Julio de Diego
Located in Hudson, NY
Artwork measures 48" x 30" and framed 56 ¼" x 38 ¼" x 3"
Provenance:
John Heller Gallery, NYC, circa 1975 (label verso)
The artist's daughter
Corbino Galleries, Sarasota, FL (1990)...
Category
1940s Modern Julio de Diego Abstract Paintings
Materials
Masonite, Oil, Tempera
St. Atomic oil and tempera painting by Julio de Diego
By Julio de Diego
Located in Hudson, NY
Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.”
To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.”
Exhibited
1950 University of Illinois at Urbana "Contemporary American Painting"
1964 Marion Koogler McNay Art Institute, San Antonio, Texas
This work retains its original frame which measures 54" x 36" x 2".
About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism.
The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman.
De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...
Category
1940s American Modern Julio de Diego Abstract Paintings
Materials
Masonite, Oil, Tempera
The Magician oil and tempera painting by Julio de Diego
By Julio de Diego
Located in Hudson, NY
Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.”
To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.”
Exhibited
1964 Marion Koogler McNay Art Institute, San Antonio, Texas
This work retains its original frame which measures 54" x 42" x 2"
About this artist: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism.
The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman.
De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...
Category
1940s American Modern Julio de Diego Abstract Paintings
Materials
Masonite, Oil, Tempera
Inevitable Day – Birth of the Atom oil and tempera painting by Julio De Diego
By Julio de Diego
Located in Hudson, NY
Julio De Diego’s Atomic Series paintings made an extraordinary statement regarding the shock and fear that accompanied the dawn of the nuclear age. In the artist’s own words, “Scientists were working secretly to develop formidable powers taken from the mysterious depths of the earth - with the power to make the earth useless! Then, the EXPLOSION! . . . we entered the Atomic Age, and from there the neo-Atomic war begins. Explosions fell everywhere and man kept on fighting, discovering he could fight without flesh.”
To execute these works, De Diego developed a technique of using tempera underpainting before applying layer upon layer of pigmented oil glazes. The result is paintings with surfaces which were described as “bonelike” in quality. The forms seem to float freely, creating a three-dimensional visual effect. In the 1954 book The Modern Renaissance in American Art, author Ralph Pearson summarizes the series as “a fantastic interpretation of a weighty theme. Perhaps it is well to let fantasy and irony appear to lighten the devastating impact. By inverse action, they may in fact increase its weight.”
Bibliography
Art in America, April 1951, p.78
About this artists: Julio De Diego crafted a formidable persona within the artistic developments and political struggles of his time. The artist characterized his own work as “lyrical,” explaining, “through the years, the surrealists, the social-conscious painters and the others tried to adopt me, but I went my own way, good, bad or indifferent.” [1] His independence manifested early in life when de Diego left his parent’s home in Madrid, Spain, in adolescence following his father’s attempts to curtail his artistic aspirations. At the age of fifteen he held his first exhibition, set up within a gambling casino. He managed to acquire an apprenticeship in a studio producing scenery for Madrid’s operas, but moved from behind the curtains to the stage, trying his hand at acting and performing as an extra in the Ballet Russes’ Petrouchka with Nijinsky. He spent several years in the Spanish army, including a six-month stretch in the Rif War of 1920 in Northern Africa. His artistic career pushed ahead as he set off for Paris and became familiar with modernism’s forays into abstraction, surrealism, and cubism.
The artist arrived in the U.S. in 1924 and settled in Chicago two years later. He established himself with a commission for the decoration of two chapels in St. Gregory’s Church. He also worked in fashion illustration, designed magazine covers and developed a popular laundry bag for the Hotel Sherman. De Diego began exhibiting through the Art Institute of Chicago in 1929, and participated in the annual Chicago Artists Exhibitions, Annual American Exhibitions, and International Water Color Exhibitions. He held a solo exhibition at the Art Institute of Chicago in the summer of 1935. Though the artist’s career was advancing, his family life had deteriorated. In 1932 his first marriage dissolved, and the couple’s young daughter Kiriki was sent to live with friend Paul Hoffman.
De Diego continued to develop his artistic vocabulary with a growing interest in Mexican art. He traveled throughout the country acquainting himself with the works of muralists such as Carlos Merida, and also began a collection of small native artifacts...
Category
1940s American Modern Julio de Diego Abstract Paintings
Materials
Masonite, Oil, Tempera
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Julio De Diego abstract paintings for sale on 1stDibs.
Find a wide variety of authentic Julio de Diego abstract paintings available for sale on 1stDibs. You can also browse by medium to find art by Julio de Diego in masonite, oil paint, paint and more. Much of the original work by this artist or collective was created during the 1940s and is mostly associated with the modern style. Not every interior allows for large Julio de Diego abstract paintings, so small editions measuring 30 inches across are available. Customers who are interested in this artist might also find the work of Audrey Anastasi, Pawel Kontny, and Clarence Holbrook Carter. Julio de Diego abstract paintings prices can differ depending upon medium, time period and other attributes. On 1stDibs, the price for these items starts at $24,500 and tops out at $26,000, while the average work can sell for $25,000.