Jordi Teixidor (Valencia, 1941), is considered one of the leading representatives of Spanish abstract art. He studied at the San Carlos School of Fine Art. His first individual exhibition was held in 1966 at the Mateu Gallery, Valencia. In the same year he started work at the Cuenca Museum of Abs...read more
Jordi Teixidor (Valencia, 1941), is considered one of the leading representatives of Spanish abstract art. He studied at the San Carlos School of Fine Art. His first individual exhibition was held in 1966 at the Mateu Gallery, Valencia. In the same year he started work at the Cuenca Museum of Abstract Art, which brought him into contact with the painters connected with it; he was particularly influenced by Gustavo Torner and Gerardo Rueda. In 1967 J.A. Aguirre included him in the Nueva Generación group. He produced what he called "aperspectives", playing with the traditional concept and inverting conventional formulae, for example by placing cold colours in the foreground and warmer tones in the background. In 1972 he classified these “aperspectives” in volumes. Subsequently Teixidor abandoned this approach and returned to brush strokes and the texture of the canvas. Pop Art left its mark on his work, but in the 1970s, after discovering Minimalism and the French Supports/Surfaces movement, he revised his rationalist approach and adopted a very pure style. Canvas, brush strokes and colour come to the fore again, arranged in an abstract space, which was especially appropriate for the expression of pure plasticity. In 1975 the Juan March Foundation awarded him a grant for Spain and in 1979 another for New York, where he went in 1980, obtaining a Studio Program grant from the Institute for Art and Urban Resources Inc. His Serie blanca (White Series) of 1977, in which the painter strives for a "therapy of colour", was followed by the orange, pink and yellow series of 1978, and in the 1990s we find him producing series in deep blue, clearly essentialist and with great clarity of composition.
1990 saw the beginning of the series Los límites de la memoria (The Limits of Memory), Los límites del engaño (The Limits of Deceit) and Los límites de la razón (The Limits of Reason). In 1997 his work was exhibited in a retrospective at the Institut Valencià d’Art Modern's Julio González Centre.
Colour gradually loses prominence until his work is strictly limited to black, although he retains some gold. At this time he produced Scandinavian landscapes and the trilogy composed of El final de la batalla (The End of the Battle), La muerte de Virgilio (The Death of Virgil) and La derrota (The Defeat). In 2000 he was admitted to the San Fernando Royal Academy of Fine Arts in Madrid.
Once again he began to incorporate colour in his works in the form of crossed lines on black surfaces, with different textures, recovering a more gestural and immediate approach which recalls other periods of his work.
In 2002, in the series dedicated to La muerte del anarquista (Death of the Anarchist), areas produced with a gestural approach are combined with large horizontal squares. In other series he continues with the use of black as a field of colour which both generates and provokes, while in the África series and in La visita de Ulrich (Ulrich's Visit) he includes elements which are informal and capricious, in contrast to the overall rigour of the works. His work has been exhibited at leading national and international museums and art galleries. In 2014 he received the National Award for the Visual Arts.Read less