English (United Kingdom)

https://curated-unify.zendy.io/wp-json/zendy-region/v1/featured_content/oa?rat=en

https://curated-unify.zendy.io/wp-json/zendy-region/v1/highlighted_journal/

Global: Zendy Plus annual

Presents the access of premium content as premium feature

Premium Content

Presents the keyphrase highlighting as premium feature

Keyphrase Highlighting

Presents the summarisation as premium feature

Summarisation

Insights

Presents the pdf analysis as premium feature

PDF Analysis

Presents the zaia usage as premium feature

ZAIA

Global: Zendy Tools annual

Global: Zendy Free Plan

Global: Zendy Tools monthly

Global: Zendy Plus monthly

La pintura de Santiago Serrano en los años setenta, quizás la fase más brillante de toda su trayectoria, todavía no había sido estudiada desde un enfoque que conjugara la observación directa de su obra y la lectura de sus escritos inéditos. Este artículo es el resultado de una investigación sobre su trabajo artístico en aquella década, con el objetivo de averiguar las referencias, motivaciones y procedimientos que le llevaron, ya desde finales de 1970, a un grado tan radical de abstracción que entronca con Malevich, Rothko, Newman o Diebenkorn. Por su particular concepción y uso del color y la materia, Serrano se distinguió claramente de otras tendencias abstractas como el informalismo o las geometrías derivadas del minimalismo, el op art o el cinetismo.  Asimismo, se analiza el desarrollo de su obra en el contexto de la Pintura-Pintura, sobre todo con relación a las aportaciones de Supports/Surfaces, el grupo de Trama y los pintores italianos adscritos a la Pittura Analitica y Pittura-Pittura. Finalmente, se advierte cómo la pintura de Serrano en los setenta se ha proyectado sobre determinadas fases de su obra posterior.The painting of Santiago Serrano in the seventies, perhaps the most brilliant part of his whole production, had not yet been studied using an approach that combines the direct observation of his work and the reading of his unknown writings. This article is the result of the study of the development of his artistic work during that decade (in order to find the references, motivations and procedures which led him to such a radical level of abstraction that is connected with the art of Malevich, Rothko, Newman or Diebenkorn). Due to his particular conception and use of colour and material, Serrano´s work was clearly different from other abstract trends like Informalism or Geometric Art derived from Minimalism, Op Art or Kinetic Art. Furthermore, the development of his work is analysed in the context of Painting-Painting, mainly with regard to Supports/Surfaces, the Spanish group Trama and Italian painters linked to Pittura Analitica and Pittura-Pittura. The way Serrano´s painting of the seventies has influenced certain stages of his later artistic career is observed as well.</p

Santiago Serrano (1970-1980): Hacia una pintura no aprehensible