According to Pablo Palazuelo’s handwritten notes, the execution of the sculpture was planned based on a zinc model conceived in 1967, of which numerous photographs taken by his brother Enrique Palazuelo remain. The catalogue of the exhibition of the artist’s work at Galería Maeght in Barcelona (1977) referred to the final presence of four versions […]
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This painting, to which the artist gave the French title of Noir central, not only due to his familiarity with that language during his years of residence in Paris but also because of the support given to his oeuvre by a renowned French gallery, is like a variation of black tones, starting from the irregular […]
Read moreAccording to Pablo Palazuelo’s handwritten notes, the execution of the sculpture was planned based on a zinc model conceived in 1967, of which numerous photographs taken by his brother Enrique Palazuelo remain. The catalogue of the exhibition of the artist’s work at Galería Maeght in Barcelona (1977) referred to the final presence of four versions […]
This painting, to which the artist gave the French title of Noir central, not only due to his familiarity with that language during his years of residence in Paris but also because of the support given to his oeuvre by a renowned French gallery, is like a variation of black tones, starting from the irregular […]
Exhibitions IOLAS VELASCO 1973, cat. No. 15, n/r, quoted cat. unpaged MUSEO DE PASIÓN 2012, n/c, col. ill. p. 34 Literature CLAUDE ESTEBAN 1980, b/w ill. p. 208 (“El taller de Monroy”)
