BORÈS Francisco
Spanish painter born in Madrid in 1898. He began to paint at the age of seventeen in a private academy and spent long periods copying pictures in the Prado Museum. In 1922 he joined the Ultraists, a literary and artistic avant-garde group. In 1925 he exhibits for the first time at the Salon des Artistes Ibériques. A few months later he went to Paris, where he has lived ever since. At first he was close to the young painters who made a cult of Juan Gris, and, following the latter's example, started from a plastic synthesis to find reality. But Borès by nature reacted against the rigidity of the Cubist conceptions; he refused to consider the object in itself; he feared the stagnation of forms. He broke with the geometrical spirit, and the idea of formal construction. Interested in expressing the dynamism of objects, he tried to place them in space again and evoke the surroundings that they seem to need -- which led him to the practice of allusion and ellipses. Already at the time of his first exhibition at the Galrie Percier in June 1927, his work was a selection of symbols and a delicate and subtle balance of colours. From 1929 on Borès, who was interested by the Surrealist experiment, although he remained outside the movement, began to work nearer to Nature and found again a close affinity between plastic creation and the visual sensation it expressed. His scope widened. People, objects and backgrounds crowd the canvas to evoke a café terrace or a Sunday afternoon; they are sometimes treated with humour, or burlesqued, but always with the same economy of means, the same discreet detachment. They are based on reality, but they give evidence of unexpected syntheses, where imagination plays as big a role as memory. Various exhibitions in France, London and America mark this turbulent period. But very soon his work evolved towards a return to pure painting. More recently he has undertaken pictures which are more and more concentrated, based on the subtle play of inner relations and the skilful harmonies of minor tones. His themes are deliberately limited to simple and familiar objects, but his still lifes, in the successive stages of their chromatic variations, are strangely alive.
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