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https://www.coleccionbbva.com/es/autor/sunyer-joaquim/
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Joaquim Sunyer
(Sitges, Barcelona, 1874 − 1956)
Author's artworks
19th-20th century Spanish
Sunyer is regarded as one of the main exponents of Catalan
Noucentisme
a term coined by Eugenio d’Ors to name a cultural movement which many scholars regard as the most interesting in Spanish twentieth century art. Its members were highly prepared intellectually, pro-European and appreciated the form, rejecting improvisation and embracing the notion of “a job well done.” They were also known for their eschewal of sentimentality, their quest for purity and extolling of the urban world, as opposed to the ruralism prevailing among the members of the Generation of ’98, and, in short, for their elitism and self-awareness of aesthetic, social and intellectual avant-gardism.
. He began his studies at the School of Fine Arts of Barcelona alongside great artists including Isidre Nonell (1872-1911) and Joaquim Mir (1873-1940). In the company of the latter, he frequented the outskirts of the city to paint au plein air.
His earliest paintings boast great luminosity, in the style of the works of his uncle, the painter Joaquim de Miró (1849-1914). The simplicity and clarity of his work were fully in consonance with the Catalan and European artistic context of the time.
In 1896, like many other artists from his generation, Sunyer decided to move to Paris. His time there transformed his Modernista style and favoured a rapprochement with the way of painting of the
Nabis
a term coined by Eugenio d’Ors to name a cultural movement which many scholars regard as the most interesting in Spanish twentieth century art. Its members were highly prepared intellectually, pro-European and appreciated the form, rejecting improvisation and embracing the notion of “a job well done.” They were also known for their eschewal of sentimentality, their quest for purity and extolling of the urban world, as opposed to the ruralism prevailing among the members of the Generation of ’98, and, in short, for their elitism and self-awareness of aesthetic, social and intellectual avant-gardism.
** artists like Édouard Vuillard (1868-1940) or Pierre Bonnard (1867-1947). His early years in Paris were not easy because of his precarious financial situation. Around 1903 he met Picasso (1881-1973), Manolo Hugué (1872-1945) and Aristide Maillol (1861-1944) in Montmartre. From that moment onwards, he started to use pastel and oil paint, and to depict everyday scenes from the Paris working class district of Belleville. Another noteworthy influence from that time was the female nudes by Pierre-Auguste Renoir (1841-1919).
Following an exhibition of his work at Galería Faianç Catalá in 1911, Sunyer began to be viewed as the leader of
Noucentisme
a term coined by Eugenio d’Ors to name a cultural movement which many scholars regard as the most interesting in Spanish twentieth century art. Its members were highly prepared intellectually, pro-European and appreciated the form, rejecting improvisation and embracing the notion of “a job well done.” They were also known for their eschewal of sentimentality, their quest for purity and extolling of the urban world, as opposed to the ruralism prevailing among the members of the Generation of ’98, and, in short, for their elitism and self-awareness of aesthetic, social and intellectual avant-gardism.
, a movement in whose creation he was not actually involved but whose ideals reacting against the frivolousness of late Modernismo were very much in line with his personal aesthetics.
After intermittent trips around the Iberian Peninsula, towards the end of the 1900s he decided to return to his city of birth, although not to settle permanently. In 1913-1914 he travelled to Italy, and maintained studios in Barcelona and Paris as well as spending some time in Palma de Mallorca.
The outbreak of the Spanish Civil War forced him to go into exile to France, from where he would not return until 1941.
In 1954 he was awarded the Gran Prix for an Artist’s Work at the Havana Biennial. His work is in the collections of many major institutions, including the Museo de Bellas Artes, Bilbao; Museu Nacional d’Art de Catalunya, Barcelona; and Centre Pompidou, Paris.