Antonio Saura was born in Huesca in 1930 and died in Cuenca in 1998. Saura embarks on dreamlike and surrealist drawings and paintings and asserts a personal style that is independent of the movements and trends marking his generation. His work follows in the tradition of Velázquez and Goya. Starts with printed works and illustrates numerous books in an original way, including Cervantes’s Don Quijote; Orwell’s 1984; Pinocho, Nöstlinger’s adaptation of the Pinocchio story; Kafka’s Tagebücher, Quevedo’s Trois visions and many others.
Later works in sculpture, creating pieces that feature welded metal elements depicting the human face, figures and crucifixions. Along with the Femmefauteuils (or Womenarmchairs), begins the series Imaginary Portraits, Goya’s Dogs and Goya’s Imaginary Portraits. Abandons painting on canvas (which he will take up again) concentrating on writing, drawing and painting on paper, publishing his writings and is involved in creating stage designs for theater, ballet and opera. He died in cuenca in 1998.
Working on Pinocchio represented for me a playful and pleasant attempt to return a longstanding childhood fixation to the world of the more or less intelligible, (...) being transformed in the end into hope and a homage to a new life.
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