Original Poster – Eduardo Chillida, Sala Gaspar, 1971

Original Poster – Joan Claret, Sala Gaspar, 1972 Description: Details: Artist: Joan Claret Exhibition: Sala Gaspar, Barcelona Year: 1972 Dimensions: 75 x 55.5 cm Condition: Go...

Original Poster – Antoni Clavé, Trobadors, Sala Gaspar, 1970 Description: Details: Artist: Antoni Clavé Exhibition: Trobadors – Sala Gaspar, Barcelona Year: 1970 Edition: Limite...

Original 1970 Exhibition Poster by Antoni Clavé – Sala Gaspar, Barcelona Artist: Antoni Clavé Exhibition: Sala Gaspar, Barcelona Year: 1970 Dimensions: 76 x 56.5 cm Condition: G...

Original 1976 Exhibition Poster by Moisès Villèlia – Sala Gaspar, Barcelona Artist: Moisès Villèlia Exhibition: Sala Gaspar, Barcelona Year: 1976 D...

Eduardo Chillida (Spain, 1924-2002) '5 Livres Gravés', 1974 Original poster from show lithograph on paper 25.2 x 17 in. (64 x 43 cm.) Unframed Ref: CHI100-202 Eduardo Chillida He be...

Featuring a typical monochrome and abstract design, this beautiful poster advertises Eduardo Chillida's exhibition at the Galerie Lelong in Paris, France. Running from October to Nov...

Affiche n°87 is a beautiful lithograph realized by Eduardo Chillida in 1964. Hand-signed and numbered by the artist on the lower left in pencil. Edition 11/25.Editions Maeght, Pari...

Eduardo Chillida Lithograph on cardboard Number T 169/1000 The work is signed by the artist and individually numbered (pencil) Work dimensions 47/34 The work is framed Eduardo Chillida(1924 - 2002). He was a Spanish artist. He began his career in 1943, studying architecture at the University of Madrid, but in 1947 he took up drawing and sculpture. In 1948 he moved to Paris, then the world capital of art. Although he dropped out of college, his work betrays his architectural training, revealing an underlying sense of structural organization as well as material discipline, planning spatial relationships, and scaling elements. For years, the artist used materials that were the basis for his research on conceptual and metaphysical issues. Chillida's early efforts in stone and plaster oscillated between humans and the natural world. His return to the Spanish Basque country in 1951 initiated a change of vision, focusing more on the metamorphosis of space and the definition of spatial volume through form. Chillida soon abandoned the plaster he had used in his Paris works in favor of iron, then wood and steel. These materials represent Basque traditions in industry, architecture and agriculture, and recall the landscape and black light of the region. Chillida began using alabaster for its illuminated but veiled appearance, he used it in the sculpture How Deep is the Air (1996). Despite his use of a variety of media, Chillida's intentions for simplicity and balance never allowed the material to take on a form alien to its nature. He was consistently guided by the quality of space, density and rhythm. Major retrospectives of Chillida's graphic and sculptural works have been exhibited by the Museum of Fine Arts, Houston (1966), the Carnegie Institute, Pittsburgh (1979), the National Gallery of Art, Washington, D.C. (1979), the Guggenheim Museum (1980), the Palacio de Miramar, San Sebastián (1992), and Museo nacional centro de arte Reina Sofía, Madrid (1999). Chillida's monumental sculptures designed for urban and more remote spaces are permanently installed internationally and constitute a central aspect of his artistic production. Chillida has received numerous awards, including the Grand International Sculpture Prize at the Venice Biennale (1958), the Kandinsky Prize (1960), the Carnegie Prize for Sculpture (1964), the Andrew Mellon...