Ver ArtistaAmalio García del Moral

Biografía
Amalio García del Moral was born in Granada, Spain in 1922.

He began his artistic studies in Granada in the Free Teaching Institution in the Ganivet School and then in the grenadine school of Arts and Crafts with remarkable professors/artists as Capulino Jaúregui, Ricardo Agrassot and Gabriel Morcillo, where he obtained a prize in the years 1939-40-41. He met republican personalities as Fernando del Río and Pareja Yébenes, minister who was painted by him. He was also rewarded by the Grenadine City Council that granted him with a scholarship to complete his studies in Madrid in the Superior School of Fine Arts of San Fernando, obtaining the maximum qualification marks in the years 1941-42-43. He also got the Prizes “Molina Higueras” and “Carmen del Río”. In that school he was again the eminent painter’s favourite pupil as Eugenio Hermoso and Joaquín Valverde as well as Manuel Benedito, Vázquez Díaz, Julio Moisés and Juan de Adsuara. This privileged learning was completed with his preferences for Tiziano, Rivera, el Greco and mainly Velázquez. He personally explored the paintings by Zuloaga, Sorolla, Regollos, Nonell, Pollock, Picasso and Dubuffet that also left deep print in the diverse stages of the artist’s paintings.

After the deep academic learning it is understood that his first stage (1945-1955) is marked by a traditionalism of manners of modern style in which he had already stood out with magnificent portraits and compositions ( “Comparsas de Nochebuena”, “El Chamarilero”, “Retrato del Arzobispo Santos Oliveira”, “Retrato del Doctor Gonzalo Gayas”, etc. apart from the first “gipsies” that the critic related with those of his compatriot’s poetic universe, Federico García Lorca).

In 1948, after being awarded the City of Linares Prize, he begins a travelling decade, that takes him along the Quixote route in Castille in 1949. This is his ancestor’s home (Daimiel). Now he paints several landscapes as the “Cementerio de Argamasilla de Alba”. Then he crosses the straits to Morocco and Sahara, where he captured the light of Tanger, Marraquex, Rabat, Villa Cisneros, etc.

In 1957, coinciding with a luminous moment (“Las Monjas”, “Las Bordadoras”…) he leaves for a trip of studies to Switzerland (Berne, Zurich) and Italy (Florence Venice, Rome…) This last periplus will motivate a change in the conception of his painting that will be guided to the geometral ‘golden section’: “Retrato de un Escoba”, “La Muñeca Rota”, “La Ventana” that obtains, in 1957 one of the medals of the National Exhibition of Fine Arts in a period that is characterised by the intellectuality of the pictorial matter in search of the rigorous and perfect composition in the line of his “Mis Hijas” that gets a silver medal in the International Exhibition of Brussels ‘Les Arts en Europe’ in 1964. In that very year he is awarded the Great Prize of the Delegation of Seville with his moving painting “La Puerta sin Esperanza”. It is also the time of his “Virgen gitana” (1965).

He published five poetry books: “La Mano Florecida” in 1974, “El Pan en la Mirada” in 1977, “Testamento en la luz” in 1980, “Alquibla” in 1983 and “Reolina” in 1986. He takes part in a dozen of collective poems books, as well as magazines, conferences, gatherings and recitals with the poetry group ‘Gallo de Vidrio’. His poetic beginning goes back to 1950 with unpublished poems as the titled “Ecstasy” in which you can already appreciate his lyrical depth and easiness for the verse.

During the 60s and 70s his experimental stage culminated in what he denominated “expresionism of the materials” and “tactopinturas” in works where the pure or figurative abstraction appears in varied supports enriched with materials; he conformed this way in a third stage in his general works: “Paisajes Anímicos”, “Naturaleza Orgánica”, “Antropo-Helioforme”, “Fauno”, etc.

Since then on, Amalio follows a double road: experimental and figurative. As the figurative road is concerned, he creates a new figuration of simbolist manner or of deep social-poetic realism. His most meaningful paintings of this period are: “El Pan encadenado” (1971), “Pobre Desmontable”, “La Mano Florecida”, “La Mano Alada”, “Busto Adolescente”, the series “El Apostolado Proletario” and “El Mundo de Esperanza”.

Amalio himself admits in Bilbao in 1972 that “His work has passed from the modern manner to the expresionism and, later on, to the poetic realism and the social painting”. To this definition we should add his ‘tarolista’ period, which is still living in some of his followers and his great painting series titled “Los 365 Gestos de la Giralda” all of them dedicated to the Seville Tower that integrates his general production of plastic works (oils, drawings, acrylic, usual objects, watercolors, escultopaintings, etc.).

Amalio did many individual , anthological and collective exhibitions not only in Spain but also abroad (Portugal, Italy, Belgium, etc.) and his paintings have been studied in detail by prestigious erudits and critics (J. Campoy, Camón Aznar, A. Cobos, C. Areán, J. Castro Arines, R. Faraldo, M. Lorente, R. Muñoz…). All of them have coincided in the excellent quality and in the strength and originality of the fund/form of his work.

His general work, therefore, is the result of continuous changes that possess the inner search through the technical perfection. His will of style leans on two pillars: social and aesthetic that are neccesary in a committed art with the “here and now” (space/time) that the artist has lived in Andalusia in particular and in Spain in general; with its people, its problems, its enormous historical and cultural past. An artistic conjunction that relates him, somehow, from the pictorial thing to that social-Andalusian realism conceived on the time by the Andalusian narrators (N.N.A.) in the novels of the period 1962-1975.

Today, his paintings are hanging in several museums and important private collections in Spain and in foreign countries as U.S.A. where there are many, mainly from his figurative period (gipsies, landscapes, interiors, portraits).

The foundation keeps together the 365 paintings belonging to the series “Los 365 Gestos de la Giralda” in a desire of not dispersing those combined harmonies and with the purpose of finding a good place where they all could be exhibit at the same time. It is an important plastic legacy of the recent history of Andalusia.
Obras de Arte

Amalio García del Moral
Gitana vieja (+ Don Paco; pair)

oil on board
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Amalio García del Moral
Luto sobre la cal
1977
Oil on Canvas
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