1979 - 2005 [in english]

Adress: Travessera de Dalt 24, 2n 2a
08024 BARCELONA
Tel.: 93 416 04 97
Cell. 628 16 50 94
e-mail : [email protected]
Romà Panadès was born in Barcelona in 1956. He
graduated in Fine Arts at the University of
Barcelona. For several years he was a university
lecturer in Pictorial Procedures in the same faculty.
He completed his training with courses in ceramics,
mosaic and engraving.
He has had several one-man shows in Barcelona,
Majorca, Madrid, Tunisia and Switzerland.
His work has passed through several periods and in
all of them it is characterised as being a vital oeuvre,
in authentic and constant renewal, in terms of both
subject matter and processes. Always, however,
showing deep-rooted links to Barcelona and the
Mediterranean and just as he himself defines it,
closer to the visual inheritance of the cinema than to
that of painting.
His works, as well as belonging to different Catalan
and Spanish collections, have been exhibited
internationally in Switzerland, England, Germany
and the United States, among other countries.
His personal graphic vision has
led him to
undertake diverse commissions as an illustrator
and poster designer (Poster for the Mercè Festival
1993, Barcelona City Council), and collaborator on
newspapers such as La Vanguardia, El País and El
Periódico de Catalunya, as well as producing book
cover designs and stage designs.
1979 - 1983
Il Matto>>, de Romà Panadès y Antón, gana el
“XXI Premio a la Pintura Joven 1979” Sala Parés.
<<
ROMÀ PANADÈS in the SALA PARÉS
ROMÀ PANADÈS presents –at the behest of our
gallery– a series of drawings and watercolours that are
the result of his stay in Andalusia between 1980 and
1981.
They are intimate impressions, moments caught in
time and perpetuated in small, sincere and
spontaneous works, like a memorandum, but never
done with the idea of being exhibited.
Our periodical visits to the painter’s studio, however,
uncovered these folders half put away to one side, and
we found in them those subjective moments that were
in the artist’s work, both gazing at the landscape and
as a participant in popular Andalusian life, as well as
appreciating that the images of the Virgin Mary form
an unarguable part of the Andalusian people’s
feelings.
All of this –in appearance insignificant– provides us
with a very lively and direct vision of this young artist,
who now allows us to appreciate his complex but
interesting personality and the early announcement of
the presentation of his oil paintings that will fully
confirm that we have a new painter among us.
Joan A. Maragall
TRAVEL NOTEBOOK
“Virgen de la propinilla” Acuarela. 45x1cm.
Col. Del Artista.
This show brings
together what could be a
travel notebook, the
personal diary of a visit
to Andalusia. For this
reason, as well as
landscapes and
experiences I have
included “The Virgins”,
as a special symbol of
the Andalusian people,
as the reason that drove
me towards a
suggestive and synthetic
approach.
This diary (like any
other) is full of little
corners, fans and the
aromas of orange
blossom. I have strolled
around the “typical”
spots: I have lazed
around. This notebook
will have arisen from the
collection of glances.
Romà Panadès
“Fiesta de una Virgen” Acuarela. 60x51cm.
Col. Particular
Beca de la Fundación Güell 1981-82
Exposición en el Palau de la Virreina, Barcelona.
“Figura y globo”. Acuarela. 60x51,5 cm. Col. Particular.
“Menina”. Óleo sobre cartón. 100x70 cm.Col. del Artista.
“Unicornio”. Óleo sobre lienzo 92x73 cm.Col. del Artista
“Circo”.Acuarela. 45x32 cm.Col. Particular
“La bien pagá”.Acuarela. 45x32cm.Col. Particular
“Jugador de cartas”
Óleo sobre lienzo.162x130 cm. Col. Particular
“La Urraca”
Óleo sobre cartón. 162x69 cm. Col. Del Artista
“Niño y globo”
Óleo sobre lienzo.100x50 cm. Col. Del Artista.
“Vendedor de globos”
Óleo sobre lienzo. 130x92 cm. Col. Particular
1983 -1985
BULLFIGHTING
NEPTUNE made the bull of Crete
by beating his trident on the island
of Crete. Minos, the king of Crete,
had promised to sacrifice the
first bull he found to the King of
the Seas, and he found the one
which Neptune had made.
He liked it so much that he
cheated and sacrificed another.
The angry god made the bull
mad and subduing it became the
sixth labour of Hercules, who
captured it and took it before the
King. As the bull was consecrated
to Neptune, the King set it free
and it continued to cause
damage
in
the region of
Marathon.
Finally,
Theseus
caugth it alive and sacrificed it
before the altar of Apollo.
Jupiter also
Europa.
became a bull
to steal
The bull is a mythical figure represented
throughout the centuries in the most diverse
latitudes and the bull-simbol can be found in
literature, religion, sculpture or painting.
Greek tauros-bull and makhe-fight, because
that is a term which relates to the bullfight
while there is no aggressiveness in the work
of Panadès.
Various cultures have given this animal divine
faculties. There are bulls
from
cave
paintings
to Picasso. In Mediterranean
cultures, the figure of the bull has developed
as a constant in the history of its art, and
lately in Spain representations of the bull in
painting have almost been confined to the
bullfight, in a type of paintins kown generally
as tauromachy.
But after Picasso, what is there left to
painting tauromachy? How can a type of
painting which deals with a savage, primitive
fiesta, one which struggles to survive, renew
itself?
The artist fills the bull-bullfigter relationship
with love and the bullring with poetry. But not
a Lorca like poetry. It is a poetry from behin
the barriers, from a silent part of the ring not
contaminated by fanaticism.
Romà Panadès is an answer.
Panadès paints the bullfight with the same
peacefulness and sweetness as a afternoon in
Valldemosa and it is in this rapture with the
rhythm of the fiesta that he shows the noble
and magic parts of this play between man and
horned beast.
I am sure that if Panadès organised a bullfight
not a single drop of blood would fall in the ring.
His work is beauteful, don’t miss the exhibition
(Lluc Fluxá).
The first surprise is that his paintings are not
really of tauromachy, whitch comes from the
E. Suarez MAJORCA DAILY BULLETIN,
Tuesday, October 22, 1985
“Torero blanco” . Óleo sobre lienzo. 73x60 cm. Col. Del Artista.
When something surprises you, it is better to surrender to it
rather than ask yourself why. By coincidence, Romà Panadès
lived for a long time in Seville and, apart from being enthralled
by the city, one day the Maestranza surprised him as a setting
for a festival that is both myth and ritual simultaneously. I do not
think that it could have been more emotive. The light of the
Maestranza is joined in the most harmonious way and there, in
its arena, where there is both sun and moon, the sacrifice of the
bull takes place. The pictures that Romà Panadès paints with
the subject matter of bulls respond to the mystery of man as an
element in the ritual game of the sacrifice of the animal. They
express a religious act. See how there is no anecdote. It is the
man who, dressed for the sacrifice, becomes a powerful
presence, as the executor of the ritual. Matador costumes of an
incredible Baroquism. Picadors seen from behind who move
with aplomb on their horses. The torero, in carrying out the rites,
loves the bull. The nuptial rites are carried out, key to the origin
of the festival (according to some anthropologists). In one
painting, the face of a child torero is jumbled up with the
embrace of a totally non-aggressive bull. The light of this
painting is the light of the moon. It has a peaceful, sweet beauty,
which is at the same time profoundly mysterious. It could serve
as an item of adoration. One could beg for a miracle from it. For
Romà Panadès bullfighting rings are more mocking than risky:
the painter shies away from blood and shies away, perhaps,
from the sun. The ritual elements are those that really attract him
and inspire him: he wants to place them on record. The
spectacle of the bulls is of no more than passing interest to
Romà Panadès; what really attracts him is the myth, and he
does his best to reflect this through his paintings, of an irrational
Baroque and an attractive and powerful mystery; in which the
ritual is more moon than sun. He experiences the bull festival as
the symbolic universe of popular culture.
MARIANO DE LA CRUZ
January 1985.
“Nocturno” . Óleo sobre lienzo.130x162 cm. Col. Particular.
“Crucifijo”. Óleo sobre lienzo. 146x114 cm. Col. Particular.
“Pietá”. Óleo sobre lienzo. 162x130 cm. Col. Del Artista.
“Desconsuelo”. Óleo sobre lienzo. . 73x100 cm. Col. Particular.
“Cojida”. Óleo sobre lienzo. . 54x65 cm. Col. Particular.
“Azul y oro”. Óleo sobre lienzo. 73x92 cm. Col. Del Artista
“ … even the torero’s love for the bull that
manifests itself in Romà Panadés’ paintings is the
illusory transposition of the delicate gesture of
one guarding over the other. What is no more
than a gift of love is identification, an act of thanks
and a plea for pardon…”
Dolors Muntané (Revista Médica)
“Amantes”
Mixta sobre cartón.70x100 cm. Col. Particular.
“… A new focus on the world of bullfighting
and the torero in which there is space for the
stars and above which something magical and
astrologic constantly rolls along …”
Celia Ribera (Ciencia i Humanitats)
“Toro y luna”. Mixta sobre papel.70x100 cm. Col. Particular.
Fragmento.
“Torero y espejo”. Óleo sobre papel. 66x51 cm. Col. del Artista.
1986 -1989
SAILOR ON BALCONY
“Marinero y balcón”
Monotipo sobre papel. 58x42 cm. Col. Del Artista.
FOR AN EXHIBITION BY ROMÀ PANADÉS
Beauty is difficult despite its clarity. This
painting, with the desire of being classical, has
been created from a simultaneous urge of line,
colour and argument, by means of a long and
precise task of drawing and blurring of the
images both intellectually and sentimentally.
The line is linked directing the waves of colour,
a severe blaze of feeling, the structure of a
grand melody. He always has solidity, and his
stroke is complex: the enlargement of his image
would show a painting within the painting, the
hidden feelings that are the life of each scene.
He always maintains an appreciable thickness,
an area that enables him to fade out, creating a
no-man’s land of a great intensity and warmth,
worthy of the beats in music, a virtue that
comes from afar, like assurance in old age.
Sometimes there is the suggestion of a map of
the painting, due to such a strong presence of
the lines, which might show the appearance of
paths, of height contours, of a complex
sentimental orography, as if it were the map of
the destiny of the characters themselves. It is
as if the painting wanted to take on the old
meaning of the lines on the palm of the hand or
the texture of the horizon.
The culture of colour is present from the silent
clays of the Greek vases and of the twilight
porcelains through to the lightness of the De
Chirico horses or the darkness of Nonell. There
is a colour of a vast, splendid past, which is
perpetuated and at the same time begins again
in each of these paintings, because they
provide a spectrum for the light, the shadows
and all the infinite reflexes that leave these
vestals over our world. Its colour has the depth
of a mirror, a well, an exile. They are the
colours of life and this gives the canvas the
familiarity and nobility of the invisible furniture
stored in the memory.
This affectionate and worthy colour, which
would not withstand the inclemency of a
previous drawing, comes from so far, like the
very shading out, can transform a body into
a soul if the gaze is free of rational
extravagances. The estate of this colour is
immense, a way of showing our significance in
this great Venetian language minted from
Tintoretto to Turner and Cézanne. The
background is tinged with its veiled light, as if
a pleasant screen of parchment filtered the
colours in the foreground. It is said that the
face of the selfsame.
spectator ends up being faithful to this
chiaroscuro and is also concealed and
enveloped by the same sphere of the painting,
where the distance between the darker and
lighter areas always possesses the humanity of
feelings. Feelings are at the base of this art and
they structure it with their complex nature. For
this reason the masses of colour are large and
balanced, and it is the lines which –when
necessary– are responsible for the violence,
represented, for example, by a sometimes
unexpected dramatic inclination.
Each one of these paintings is the visible part of
the iceberg of a possible story. The invisible part
could be built, rebuilt or eternally made out
through them. Sometimes love, sometimes
friendship, always a silent talk that never ends, a
serene accompaniment with the characters,
almost always two, separately immersed in their
own thoughts and the spectator, from outside,
looking at them lost in their personal story.
In the centre of this painting there is the
seafarer, who is young, of a youth that is
already aware of the first disappointments, the
first feelings of nostalgia for childhood: he is
measuring life, unfolding before him. These
seafarers are reflective: they have the mystery of
man facing his destiny and make up the large
frieze of farewells from someone in their youth.
“Pareja y balcón”. Óleo sobre lienzo. 73x54 cm. Col. Particular.
“Baile”
Óleo sobre lienzo. 100x81 cm.
Col. Particular.
The characters are usually friends
who reflect and chat together, or
the man and woman, with attitudes
that always have a heavy symbolic
meaning: contemplation from the
balcony, the embrace, the dance.
The two figures are sometimes
combined so that one has their
back to us and the other is facing
us, like the reminiscence of an
ever-present forgotten Janus, a
duality that may have something to
do with life and death. The dance
enables the communion between
the two faces of this Janus, and the
mirror enables the unfolding of the
two aspects that come from the
same character: the use of the
symbol is, therefore, rich and
profound.
Sometimes an object takes the
place of the character, as in the
case of the black car, where the
presence of two children’s faces
behind the rear window make one
go back to the general reflective
world, toughly revealing –with the
“black” colour– might imprison the
children’s souls and from where
they gaze out at their destiny. Life
hardens them and they have just
enough time to give a fleeting
glance back through the small
window
which
contains
the
memory.
This is a painting of people with
a
contemplative
look, of
theoreticians
as
the
Greeks
would say. The spectator either
faces up to these glances –which
are lost behind him– or feels them
arise from the other side of the
figures that have their backs to him,
often from the suggestive height of
the balcony. This is the case of the
embracing couple, a synthesis of
the tragedy of time in love, o r of
the two seafarers pointing and
looking at the target on a fairground
stall, a target made of light of bright
golds, reds, greens and pinks, a
veritable aurora within the tricks on
offer beneath the awning, an
afternoon at the festival.
Approximately 50 years ago, we began to turn
our eyes away from the forms that were
familiar to our ancestors for many centuries,
and at the same time felt a deep complacency
due to the spiritual void that this left us with. At
least this has had the advantage that painting,
at the end of abstraction, revealed, not only the
victory of the void over art, but also the size of
the previous victory of art over the void.
Moreover, a mediocre art that only provides
appearance, wrapping, introduction and
proclaims the spiritual force, can also end up
awakening in some of its consumers the need
for content that they have never felt. From amid
all this has arisen, when all is said and done,
the magnificent paintings of Romà Panadès,
because art always overshadows its own
publicity. Moralists often lie, but artists never
do. Nor do philosophers, who only err. Art
cannot be replaced by the void, in the same
way that philosophy will not be replaced by
science, because recalling Epicurus in his
Letter to Menoeceus, “It were better, indeed, to
accept the legends of the gods than to bow
beneath destiny which the natural philosophers
have imposed”
Joan Margarit, January 1989.
“Tiro al blanco”. Óleo sobre lienzo. 81x100 cm. Col. Paticular.
“El coche negro”
Óleo sobre lienzo. 146x114 cm. Col. Particular.
“El extraño”. Óleo sobre lienzo. 100x73 cm. Col. Particular
“Puerto”
Óleo sobre lienzo. 162x97 cm Col. Del Artista.
“Tarde en el baile”. Óleo sobre lienzo. 114 x146 cm. Col. Particular.
“Autos de choque”. Óleo sobre lienzo. 130x162. Col. Del Artista.
“El triciclo”. Óleo sobre cartón. 100x70 cm. Col. Particular.
“Tutú”. Óleo sobre lienzo.100x81cm. Col. Particular.
“Zapatero”. Óleo sobre lienzo. 100x70 cm. Col. Particular
“El piano”. Acrílico sobre papel. 100x70 cm. Col. Particular
1990 - 1996
THE POINT OF VIEW OF ROMÀ
PANADÉS
This is an open work, because
the point of view is curious, warm
and flexible. Romà Panadès
constructs with techniques taken
from the fullest contemporaneity.
He uses the language of the
cinema: close-ups and extreme
close-ups, zooms, sequences,
crossovers
of
perspectives,
incorporating the rhythm of music
and dance. He submerges
extraordinarily into the unknown
Gaudí, and experiments with
processes close to sgraffito and
sculpture.
The point of view is expressed
in a look at the world, at the
same time delicate and clear,
complex and simple. And the
world
thus created
and
recreated becomes a universe
of dialogue, of solitudes becoming
solidarity. It becomes an everresuming
and
diverse
conversation
between
the
characters and with us. We see
through their looks, we enter into
the same mysterious setting.
And at the end of the day we
become part of it and it envelops
us. The efficiency of the play of
mirrors between the spectator
and the actor, the outside and
the inside, this permanent drive
to discover the questioned
identities that is essential in
artistic work, beats in each
brushstroke.
The dialogue –often established
between couples– to which the
artist invites us is the same
fusion
that
excited
Pedro
Salinas: “to live, feeling alive”.
And he incorporates out-of-theordinary nourishing elements,
such as unusual profiles, the
exploration of new horizons of
the
human
body
–backs,
foreshortened figures– that have
traditionally been little though of
and we discover now as being
welcoming and expressive. All
in all it is a calling to complicity,
the first stone laid of all creative
and
balanced
relationship
between the inhabitants of this
earth.
“Conversación”.
Acrílico sobre lienzo. 73x92 cm. Col. Particular
The canvases contain the thematic stamp and
atmosphere of everything that is Barcelona, of
the Mediterranean. In one part are outlined palm
trees, as a warm placenta contrasting with figures
that
are almost heirs of nineteenth-century
exactitude. In another, the dawning of the popular
dances and the silence of the port, the tension of
the billiards player or the effort of the swimmer, like
the circus was before, the art of bullfighting and the
dodgem cars at the children’s fairs. Everywhere, the
presence of the sea.
The development of Panadès’ figuration, on the
borders between reality and symbol, flows into
essence, into motion: a unique atmosphere. He
does not describe finished realities: nor does he
imitate or recreate nature, but rather dreams within
the dream, loves within fleeting love, plays within the
game, he is concerned about adventure, he fulfils
solitudes. He is fascinated in the ways of SalvatPapasseit and Mercè Rodoreda and, like Foix, is
excited by the new and in love with the old. We
often forget, in the polarisation between figuration
and abstraction, that in the latter not everything is
necessarily avant-garde and from the former both
experimentation and innovation are possible.
Works like these, in evolution and continually
breaking with their own matrixes, are meeting points
of that which, in both great families of contemporary
painting, is a strict and, if need be, inflamed,
creative drive. The collection will surprise those who
will have recent memories of works of other stronger
colours and a more energetic line, such as the
bullfighting scenes. Now we are also presented with
apparently gentler subject matters of daily life, such
as the series of beaches or that of the sleeping
women. Has he decreased the effort? Not at all. We
find ourselves before the search for intensity through
new, more introspective ways: the browns, ochres,
earthy colours, violets and reds; the re-reading of
Pompeiian tradition at the service of the 21st century;
the movement and stillness of dense static tension.
This show has thickness in itself, but is coherent with
its starting point, the previous work. It happily opens
new thematic lines –dreams, the effort of swimmers,
musical instruments, some urban landscapes– and
techniques –the use of powdered marble and works
on paper. It is an open work.
Xavier Vidal-Folch
“Juegos de arena 1”. Acrílico sobre lienzo. 146x114 cm. Col. Particular
“Juegos de arena 2”. Acrílico sobre lienzo. 97x130 cm. Col. Particular
“The word is always implicitly present in
these works, of which one could say they
represent a transmutation of loneliness
into solidarity, or a declaration of intent to
live and to live in company and enjoy the
sensuality
of
existence. Existential
painting, then: literary and musical
painting, material and, at the same time,
human painting, in which the inclusion of
textures does not interfere with an
imaginative meditation about the forms,
especially about the human figure, in a
clear invitation to dialogue, exemplified by
the frequency of the couple in the
paintings”.
J. J. Navarro Arisa
“Juegos de arena 3”
Acrílico sobre papel. 100x70 cm. Col. Particular
“La egipcia”. Acrílico sobre lienzo. 70x50 cm. Col. Del Artista
“Violin y caja”. Acrílico sobre lienzo. 89x116 cm. Col. Particular
“Nadadora 1”.
Acrílico sobre lienzo 73x92 cm. Col. Particular
“Nadadora 2”. Acrílico sobre lienzo.146x114 cm. Col. Particular
“ Durmiente”. Acrílico sobre lienzo. 73x92 cm. Col. Particular
“Descanso”. Óleo sobre lienzo. 46x38cm. Col. Particular
“Hijo”. Acrílico sobre lienzo. 146x114 cm. Col. Particular
“Mercè”. Mixta sobre papel. 100x70cm. Col. Particular
1997 - 2000
“Perfiles y cielo”.
Acrílico sobre lienzo. 93x73 cm.
Col. Del Artista
Romà Panadès is a painter who
passes through mastery with
those perpetual concerns: death,
separation, farewells and the
evanescence of us all. In
contrast, there is something
absolute, constant, in his
paintings:
space.
Nearly
everything happens here in
Barcelona. The silhouette of
Montjuïc, Park Güell, the public
square in Sarrià, the seafront,
the balconies of the Pla de
Palau, the bullfighting ring or the
beach of Barceloneta receive
some visitors that we can hardly
categorise
socially.
His
characters,
through
the
embrace, the kiss, the caress, a
gesture, transmit all their
happiness, pain and innocence
to us. Romà is capable of
condensing, of synthesising, the
music of “The Beatles” with four
brushstrokes that are going to
tarnish that which marked the
rhythm
of an era: the four heads of hair
of the musicians from Liverpool,
to be precise. From the moment
I see his toreros embracing the
bulls, his seafarers embracing
women from the Raval district,
his balconies desiring a sea that
is
denied
them,
I
feel
melancholy and I want to know
who his characters are, which is
the same as knowing who we
are or why we are like we are or
why we always seem to be
taking our leave of everything
that surrounds us. Perhaps that
is why his painting is essential
and necessary to me. Like
everything essential, at the
beginning
it
disturbs.
Its
extension is hardly noticeable,
but it hurts greatly.
Ever. M. Blanchet
Writer and director of
Versus Theatre
“Montjuïch ”.
Óleo sobre lienzo. 46x38 cm. Col. Particular
“Tibidabo”. Acrílico sobre papel .70x100 cm. Col. Particular
“Sarrià”. Óleo sobre lienzo. 73x92 cm. Col. Del Artista
“Figura leyendo”. Óleo sobre lienzo. 93x130 cm. Col. Particular
“Souvenir”. Óleo sobre lienzo. 54x73 cm. Col. Particular
“El baño”. Óleo sobre lienzo. 54x65 cm. Col. Particular
“Amigas”. Óleo sobre lienzo. 60x73 cm. Col. Particular
“Visión nocturna”. Acrílico sobre papel. 70x100 cm. Col. Particular
“El hombre de la lluvia”.
Óleo sobre lienzo. 130x81 cm. Col. Particular
2000 -2005
Fragment of the interview with
Romà Panadès by P. Vilmar in
December 2004.
“…P- You are a figurative but not a realist
painter. How would you define your work?
“Instantes”.
Óleo sobre lienzo. 65x100 cm. Col. Del Artista
R- Defining oneself is always complex since I
have never liked definitions and I do not
understand why you have to use text to
explain forms, colours and contours. I think
my painting speaks for itself. Whether it
connects with someone or not is another
question.
P- Where does your subject matter come
from?
R- I never pursue or seek out a specific
subject, rather they choose me to be painted
and belong more to the sphere of ideas than
that of direct reality. The fleeting sight of my
son looking at a cage, the landscape formed
by the car’s rear mirror, are images that
appear in my life as rarities or metaphors. For
example the dodgem cars in an uncontrolled
circulation always going round and round
without any set course, are both very
suggestive and symbolic; an ironic metaphor
of our existence.
P- Do you not think that the use of these
metaphors taken from reality have several
interpretations?
R- It is good to open up different points of
view: fundamentally it is about a way of
looking and thinking and vice versa. Let the
viewer make their interpretation. In the case
of my Bullfighting, far from producing a
bullfighting chronicle, a metaphor aboutlove
appeared. Bulls have a strong symbolic
weight in themselves.
“Jaulas”. Óleo sobre lienzo.146x89 cm. Col. Del Artista
P- Your work makes me think about the
cinema: nothing is static and everything
moves, they are like fragments of stories.
What do you think about this?
R- My visual education began with the cinema,
not painting. My youth belongs to a culturally
grey and sad period, in black and white but
interfered with then by the emerging image of
television and cinema. The only modern art
museum in Barcelona was the one in
Ciutadella, which apart from seeing the
exquisite watercolours painted by Fortuny, all
the pictorial daring was no later than the 19th
century. For me this museum has its oddness
and craziness, with so much “morphine
addiction”, "tuberculosis" and "despairs", and
forms part of my roots and I like it: it is like rereading Poe.
In the cinema, in contrast, I found ideas in
movement and subtleties without text. I
entered into expressionism at the hand of
Dreyer before that of Munch y and surrealism
from the lyrics of John Lennon rather than the
texts of A. Breton.
P- Your work features figures with their
backs to us, embracing and in physical
contact: Does this have any special
meaning?
R- They form part of a reality or what I
imagine as reality: they are generally images
that are forged over time, and they certainly
have a very personal meaning and I do not
express them immediately. They are stored,
they wander and appear alone forming part
of a puzzle that is assembled piece by piece.
This is why my work does not aim to redefine
itself constantly along a specific line. I am not
a painter of a single painting. Images always
float through the memory.
My difficulty lies in painting them in the
simplest and most essential way: it is a slow
journey where in the end perhaps only a
gesture or an attitude remains…”
“Océano”. Óleo sobre lienzo. 73x92 cm. Col. Particular
“Acuerdos”. Óleo sobre lienzo. 89x116cm. Col. Del Artista
“Maternidad de arena”. Acrílico sobre lienzo. 81x100 cm. Col. Del Artista
“Progreso”. Óleo sobre lienzo. 92x73 cm. Col. Particular
“Ausente”. Acrílico sobre lienzo. 50x100 cm. Col. Del Artista
“Luz de TV”. Óleo sobre lienzo. 38x46 cm. Col. Del Artista
“La pizarra”. Óleo sobre lienzo. 54x65 cm. Col. Particular
“La ventana”. Óleo sobre lienzo. 92x73 cm. Col. Del Artista
“¿ Que haremos hoy ?”
Óleo sobre lienzo. 162x130 cm. Col. Del Artista
“Hermanos”
Óleo sobre lienzo. 92x73 cm. Col. Particular
“Músicas”
Óleo sobre lienzo. 146x97 cm. Col. Del Artista
COLABORACIONES
1985 - 1987
CALENDARIO 1995
DEDICADO A JOAN MARGARIT
DARRERA VISITA
AL FAR DE FORMENTOR
La llum del matí escampa ombres i cendres
de les fogueres roges de la nit,
i la brisa, vinclada en les baranes,
neteja el tapís blau de l’ horitzó.
El cap ja té el silenci d’ alta mar,
i, damunt el verd fosc de les pinedes,
talment un monjo cec, la torre blanca
Vora l’abisme esbalça el seu mirall.
Severa i mitològica, mesura,
Amb la pauta del vent, la sol·licitud
Dels àngels com velers perduts al blau
D’una mar que envaeix els nostres ulls.
(Joan Margarit: Raquel. 1982)
Realización para la campaña
“Plat Fort” (año Gaudí),
plato “Park Güell”,
encargo de El Periódico de Cataluña, 2002.
Realización para la campaña
“Catalunya País de vins”,
encargo de El Periódico de Catalunya, 2002
Realización del Mural “NO A LA VIOLÈNCIA” F. C. Barcelona
Juntamente con los artistas:
Robert llimós, E. Arranz Bravo, Benet Rosell, A. Vives Fierro y
Joan Pere Viladecans
Octubre 2003.
CUBIERTAS DE
LIBROS
“Barcelona Style” y “Madrid Style”, ed.Book Style.
ILUSTRACIONES
Diario “El País” 11/01/1997
“La Vanguardia”,
extra Sant Jordi 97.
“El País”,
extra Sant Jordi 94.
“El País”, extra Sonymagfoto 95 y Informat 95
Ilustraciones para “EN FORMA”,
Enciclopedia de la salud, de El Periódico de Cataluña.
CARTELES
“MERCÈ 93”
Ayuntamiento de Barcelona
1988
1990
1992
1995
1997
2001
2004
Romà Panadès
Barcelona, 1956
Qualifications and teaching
Degree in Fine Arts, University of Barcelona
Courses in ceramics and mosaic, Arts and Trades School of Barcelona
Courses in engraving, University of Barcelona
1981-1985 Professor in the Pictorial Procedures Department, Faculty of Fine Art.
One-man shows
1982 "Andalusia", Sala Parés.
1983 Güell Foundation Scholarship, Palau de la Virreina, Barcelona.
1985 "The Art of Bullfighting", Sala Parés; Barcelona
"The Art of Bullfighting", Lluc Fluxà Gallery, Palma de Mallorca.
1988 Silk-screen prints exhibition, Gràfica 4 Gallery.
1989 Exhibition in the Sala Parés.
1990 Exhibition in the Yolanda Ríos Gallery, Sitges.
1991 Exhibition in the Sala Parés.
1992 "Grafic Art 92 Barcelona" Grafica Quatre stand.
1993 Exhibition of work on paper.1993 Pérgamon Gallery. Barcelona.
1995 "Fragments" Jordi Barnadas Gallery, Barcelona
1996 "Romà Panadès" Chérif Fine Art. Sidi Bou Said. Tunisia.
1997 "August Moon" Jordi Barnadas Gallery. Barcelona.
1998 INCUBI art & mobilier. Genolier, Switzerland.
1999 "The Rain Man" Jordi Barnadas Gallery
2001 "Summer suite, show-room" Jordi Barnadas Gallery
2003 INCUBI art & mobilier. Genolier, Switzerland.
2003 "Instants" Jordi Barnadas Gallery
Group Exhibitions
1983 "Bulls and Bullfighters in Spanish Painting", Museum of Contemporary Art,
Seville; Banco de Bilbao, Madrid.
1985 Menéndez y Pelayo Internacional University, Barcelona.
1988 Solomon Gallery, London.
"Figurations", Sala Parés.
"Overture", Lluc Fluxà Gallery, Palma de Mallorca.
"Work on Paper", Pérgamon Gallery, Barcelona.
"Testimony Collection 1988-1989", "La Caixa", Barcelona.
1989 Exhibition of Lithographs, Grafica 4 Gallery, Barcelona.
1990 "Invitational Art Gallery" ART CHICAGO, Chicago, U.S.A.
1990 "38 x 50 = 50 x 38" Originals on Paper, Pérgamon Gallery, Barcelona.
1991 "Testimony Collection 1990-1991" "La Caixa", Barcelona.
1992 "Patchwork World" Lluc Fluxà Gallery, Palma de Mallorca. Expo '92 Seville.
"35 x 45 = 45 x 35, Original on Paper, Pérgamon Gallery, Barcelona.
Work on Paper, E. P. Gallery, Düsseldorf, Germany.
1993 "De-figurations" Pérgamon Gallery, Barcelona.
"38 x 50 = 50 x 38" Originals on Paper, Pérgamon Gallery, Barcelona.
1993 II Biennial of Art for the Fight against AIDS. Palau Robert, Barcelona.
1995 "Summer Collective" Jordi Barnadas Gallery
1995 "Summer Exhibition 1995" E.P. Gallery, Düsseldorf (Germany)
1995 -1996 "Romà Panadès, Perico Pastor, Josep and Ramon Moscardó" Jordi Barnadas
Gallery
1996 "Presences and territories, three proposals" Casa Elizalde Barcelona.
1996 "50th Anniversary UNICEF" Palau Robert Barcelona.
1996 "Empty Horror" Lluc Fluxà Gallery. Palma de Mallorca.
1996 "Open End". Pérgamon Gallery.
1997 Aulos-Music Gallery. Geneva. Switzerland.
1997 "Summer Collective". Jordi Barnadas Gallery.
1997 "Interiors". Sala Parés, Barcelona.
1997 ARTEXPO Fair, Sala Parés Stand, Barcelona .
1997 ARTEXPO Fair, Jordi Barnadas Stand, Barcelona .
1997 "Mediterranean Variations", Romà Panadès and Renatà Dlimi.
Gherif Fine Art. Sidi Bou Said.
1997 ESTAMPA 97, Madrid. Ediciones Quadrat 9.
1998 ARTEXPO Fair, Ediciones Quadrat 9 Stand.
1998 "Ten Years 1988-1998". Pérgamon Gallery.
1999 ARTEXPO Fair, Jordi Barnadas Stand, Barcelona.
2000 ARTEXPO Fair, Jordi Barnadas Stand, Barcelona .
2000 Homage to Walter Benjamin Exhibition, 100 ex-libris, Contrast Art Gallery Barcelona.
2002 10 Years of the Jordi Barnadas Gallery Exhibition.
2002 III TRIENNIAL OF ART GRÁFICO2002,
The Contemporary Stamp. Caja Astur Cultural and National Chalcography Centre.
2002 CATALONIA WINE COUNTRY Museum of Vilafranca Wine Museum, Vilafranca del Penedès
2003 ARTEXPO Fair, Jordi Barnadas Stand, Barcelona.
2004 MIART Fair, Stand Jordi Barnadas, Milà
2005 "Summer readings" Group, Jordi Barnadas Gallery.
Others
Stage sets. Caixa de Pensions Cultural Circle, Granollers. (1985, 1986 and 1987)
Book covers "Barcelona Style 89-90, 92-93, 93-94, 94-95. 96-97"
Book covers "Madrid Style 94-95, 95-96, 96-97"
Lithographs and posters for the "Barcelona Strategic Plan 2000" 1990, 1992, 1995
Illustrations for "EN FORMA", Encyclopaedia of Health, published by El Periódico de Catalunya
Production of the "MERCÈ 93" festival poster commissioned by Barcelona City Council
Illustrations of the 1995 "SA NOSTRA" CULTURAL WORK calendar dedicated to the poet Joan Margarit.
Collaborative work with the El País newspaper: sections: front and back pages and opinion articles
Production of the Edel Damm poster, commissioned by S.A.Damm
Lithograph "Figures on the beach", commissioned by Enciclopèdia Catalana.
Production for the "Star Billing" campaign (Gaudí Year), for the "Park Güell" plate, commissioned by
El Periódico de Catalunya. 2002
Production for the "Wines of Catalonia, denomination of origin for the TARRAGONA label" campaign,
commissioned by El Periódico de Catalunya. 2002.
Mural painting, "No to violence" F.C. Barcelona, with the artists: Robert Llimós, E.Arranz Bravo, Benet Rosell,
A.Vives Fierro and Joan Pere Viladecans. October 2003.
Collections
Testimony Collection Caixa de Pensions
Vilacasas Foundation
Barcelona City Council
Generalitat de Catalunya (Autonomous Government)
Royal House of Spain