Juan Antonio Guirado 1932 – 2010
Alberos IV, Undated
Oil on paper
65.5 x 52.5 cm
Through his extensive study of the creative arts, Guirado develops a classical yet wide artistic palette and range. His technique and painted mediums vary from mural painting (he travelled to New York in 1955 where he was commissioned to paint a series of murals), to portraiture, landscapes and still life studies.
“When a painter such as Guirado possesses a palette that is chromatically distinct and a firm palette knife, he can be called a master. Therein lies the essence of any master painter of our time.”
In the mid-1950s, whilst Juan Antonio Guirado sketches the Cuchilleros Arch in Madrid, he meets an American couple, which after seeing his studio and being extremely impressed by his works purchases several of his paintings at 80 times the value that he has previously received. This eventful meeting leads to his first breakthrough exhibition at the Soler Gallery in The Fontainebleau Hotel, Miami Beach, opening new borders for the young artist on an international level.
Retrato de músico alemán,
Portrait of German Musician, Undated
Acrylic on canvas
50 x 38 cm
With a new found artistic confidence and due to the growing social and political unrest in Spain which constrained free artistic expression, Guirado makes the bold decision to migrate to Australia in 1959, a trip he believes will help him find his path and inner calling as an artist.
His initial experiences in Australia lead him to discover Oriental mysticism. Through this discovery he delves into the Vedanta, one of the six orthodox systems of Indian philosophy, which greatly inspires his signature style. His work in Spain had been traditional in the form of portraits and landscapes, but it is in Australia that his work evolves quite radically from realism, impressionism, and expressionism to intrarealism. The spirituality that he finds here comes from the “closeness to the earth [ . . .] which in his view [. . .] is still so much part of the country and people.” It also forms the basis of his visions which are depicted in the paintings that define his unique style and his chosen vessel of expression with which he conveys his vivid and almost prophetic depictions of what he perceives as our inevitable future to come. Yogi Ramiro Calle describes Guirado’s work:
Juan Antonio Guirado’s work is endless in its content. It reflects countless changes that can never leave us unaffected. A single fragment of his paintings is a sub-painting where human beings are the great protagonists who are shown in their utmost minimal expression, and when magnified can be seen entering the mystery of life towards spiritual calm. Guirado is a painter of tantric and vedantic nuances. A tantra, as it is well known, is a Hindu-Buddhist creation whose final reality is the Divine Mother or Feminine Power. This explains why in many of his paintings we can observe his critique of the constant chaos that is human injustice. Desertifications, famine, malice, an exodus of the masses to unknown places, are all reflections of our reality. They are like pages in the book of our lives that try to warn us about the disaster that draws closer and he makes us aware of it so that we can use the power of the universe constructively and creatively. ‘In the beginning, only I existed, and from my energy, the cosmos was manifested, said Brahman in the Vedas. A while ago, Guirado discovered some books in Australia about the Vedanta philosophy that stipulates unity in everything, where nothing is finite or infinite. Guirado delved in it, reflected upon it, and as if it were a command, painted it, thus initiating the kind of painting that is full of spirituality and metaphysical reality. Intrarealism. With his intrarealist paintings, Guirado gives power to what I could call ‘intravision’ or the vision of the self. By contemplating his magnificent paintings, one develops, even without noticing, a reflection of the self, that which represents the meaning of consciousness.
El bodegón de la sequía futura,
Still life After the Future Drought, 1973
Acrylic on canvas
60 x 73 cm
Between 1961 and 1974, Guirado exhibits in many of the most prestigious venues in Sydney, including the St. Yves Gallery, the Red Rose Gallery, the Campbell Gallery, Studio 4, El Dorado, the Craftman’s Gallery, the Douglas Gallery and the Sebert Gallery at the Argyle Center, as well as the Roundhouse at the University of New South Wales.
Whilst based in Sydney, Guirado is also commissioned to paint reproductions of the Spanish masters as well as his own work for the Spanish Club on Liverpool Street. In 1966, Guirado completes his first important private commission, a painting of Pope John Paul VI for the Australian Cardinal Gilroy’s private collection.
In 1970, returning briefly to Madrid, Guirado holds an exhibition in the capital’s Cultart gallery. Due to public demand, this exhibition that is originally scheduled for three weeks is extended to six weeks. With this exhibition, Guirado seeks to introduce his work to audiences in Spain, revealing his new style inspired by the years that he lived in Australia. It receives wide coverage in magazines and on television, including the production of a documentary film about him and his work.
Photograph of Guirado at the Spanish Club in Sydney, Australia
In an interview entitled, “This Spaniard’s Art” by Patricia Johnson, and featured in The Australian Women’s Weekly in 1970, Guirado reveals, “[. . .] the colours that [he] used in Australia compared to those used upon his return to Madrid were radically different. My pictures in Australia were full of light, and I used colours such as blue, white and yellow. In Spain all my pictures were in shades of brown and grey.”
Within the same year, Guirado also holds an exhibition at the Fedelta gallery in Rome, Italy, and his paintings are featured in the Malta National Museum of Fine Arts, Valletta, Malta. Towards the end of 1970 Guirado returns to Australia to exhibit at the Craftman’s Gallery in Sydney.
Retrato en la cercanía – La Cantaora,
Close up Portrait of a Female Flamenco Singer, 1974
Acrylic on paper
70 x 52 cm
In 1973, Guirado’s work begins to move away from the figurative towards the surrealist-futurist, using more subdued, neutral colours, and seldom more than three on one canvas. He attributes these works to the violent climate and the tragedy of war. “Man is becoming internally fragmented, unsure, looking for something better inside himself, a sense of unity leading towards a better state of life.”
During this year, Guirado decides to move back to Europe with his family, settling initially in Madrid, a year later in Los Villares near Jaen and in 1975 in London, United Kingdom. With Dame Françoise Tempra, the art historian and gallery director, acting as Guirado’s agent, he begins his prolific exposure in Europe and the USA.
Universal Prayer, 1970
Acrylic on paper
52.5cm x 65.5cm
Milton fed our imagination with oneiric critic visions centuries ago. It is around 1924 that in pictorial terms such visions found a ‘home’, a school to which they could officially be ascribed, which was a great comfort to art historians. Not that we could altogether forget that artists like Hieronymus Bosch existed earlier, but it was during that year that from his ‘surrealistic experience’, André Breton defined, and in doing so, initiated a movement called ‘surrealism’ which anchored itself deeply in the History of Art of the 20th century. Half a century later, presenting the works of Juan Antonio Guirado, a kaleidoscope of visions assault my mind, from the works of Salvador Dalí and Max Ernst to those of Pedro Pacheco and yet I must confess to be confronted with tremendous originality… His technique is superbly sensual for his oils have the fluidity of watercolours in their silky, tactile quality and yet the contours of his visions have the definite, highly contrasted accuracy of the early masters of chiaroscuro.
Between 1974 and 1980, Guirado exhibits his work in London at the Sixty One Gallery, the Sloane Street Gallery, the Spanish Club, Canning House (on a number of occasions), and Casa de España (Spanish House), the latter, which was inaugurated by the Spanish Ambassador, Marquis of Perinat. Guirado also exhibits at the Aljaba gallery in Jaen, Spain.
In 1976, the Spanish Museum of Contemporary Art in Madrid acquires one of his paintings, which currently belongs to the permanent collection of the Reina Sofia Museum, and his work is praised by the museum’s Director Carlos Arean. This year marks one of the busiest for Guirado, in terms of his art works dissemination. He holds a preview at the National Museum of Fine Arts, Valetta, Malta, where he features his works at the Semana de Arte Contemporáneo. Guirado is also invited to exhibit at Venice’s 1976 Exposición Internacional Grolla D´Oro de Treviso, where out of 150 Italians, only 50 foreigners participated. Juan Antonio Guirado wins the gold medal, a triumph for Spanish artists.
Self Portrait, 1970
Acrylic on paper
64 x 50 cm
In France he exhibits at Le Touquet Palais de l’Europe, Paris-plage, the Quentovic, the Calais Museum and the Centre Français d’Art in Paris. The latter exhibition is entitled, L’Essentialisme/ Essentialism and features works of other renowned fellow essentialist artists, such as, Drago Marin Cherina and Sixte Blasco. The Essentialist movement was conceived in 1972, and is rooted in impressionism, abstraction, futurism and surrealism. During this time Guirado explores not only Essentialism as a whole, but also Intrarealism as a subject matter, exploring elements of realism and symbolism and depicting apocalyptic worlds. Later that year he also exhibits at the Chicago International Trade Expo in the United States.
The following year, in 1977, Guirado holds another Essentialism exhibition at the National Museum of Fine Arts, Valletta, Malta. His European tour continues, with exhibitions in Italy and Switzerland. In 1978 Guirado is invited by the Spanish Ambassador to exhibit at the Ramada Hotel in Geneva, Switzerland.
After living abroad for 22 years, Guirado decides to return to his home of Spain in 1981. In the following decades, Guirado progressively eschews the art world. Perhaps more prolific in his art, he immerses himself in his work due to his pure passion for it but chooses to no longer actively promote himself. His paintings increasingly become consumed by his visions and a sense of moral responsibility; depicting scenes of environmental catastrophes, man’s insistent greed, over indulgence and the decay of all moral sensibilities. These are some of the themes his paintings highlight during this period.
In 1986 Guirado is once again lured away from his hometown, this time travelling to the volcanic landscapes of Lanzarote, located in the Canary Islands. In 1986, he exhibits at the Hans Agolani Gallery in an exhibition entitled ‘Oasis of Nazareth’, and in 1988 at La Galeria, Teguise, both situated in Lanzarote.
Paisaje de Lanzarote,
Lanzarote Landscape, 1987
Acrylic on paper
52.5 x 65.5 cm
Atardecer en Tabernas,
Dusk in Tabernas, Undated
Oil on cardboard
50.5 x 64.5 cm
In 1989 Guirado is invited to exhibit at CajaSur’s 125th Anniversary, which is held at the Miguel Castillejo Cultural Centre, currently know as the ‘Sala de Exposiciones’ of CajaSur in Jaén. Following this very successful exhibition which attains wide attention and press coverage, Guirado’s work is once more shown in London in 1990, at The Cathedral Museum Committee, in an exhibition entitled, ‘Venice: Enchantment and Inspiration’.
Finally, in 1996, he exhibits his work at the Veraestilo Gallery in Vera, Almeria, Spain, which is organised as part of the 1st International Arts and Crafts Fair in Mojacar. At the inauguration of the exhibition, the journalist and art critic, Manuel Quintanilla, launches a monograph based on Juan Antonio Guirado entitled, Juan Antonio Guirado, The Contemporary Andalusian Painter.
Two years later, in 1998, Guirado once more takes part in the Malta International Art Biennial, held in the National Museum of Fine Arts located in Valletta, Malta. In 1999, Guirado holds an exhibition at the Espacio 109 in Mojacar; and in 2000 holds another exhibition at the New Delfos Gallery, also located in Mojacar, Spain.
Guirado was as versatile in his brush stroke as he was in character. As a testament to his beliefs he becomes involved in the local political party ‘Mojacar 2000’, and from 1999 to 2007 he also collaborates with the regional newspapers El Indálico and Noticias del Levante, adopting the role of art critic and political contributor by drawing satirical cartoons targeting the failures of Spanish politics. The Cartoons depict various political figures as vultures and crows conversing with each other. Guirado was critical of all political parties such as the Partido Popular, Partido Socialista, UCD and CDS. He lambasted the lack of progress, transparency and equal opportunity and yet his empathy towards the unfettered and community based life is evident as he is often found playing flamenco guitar, singing and drinking with the local gypsies.
Retrato en la cercanía – El guitarrista
Close up Portrait – The Guitarist, 1981
Spray-paint and felt tip pen on paper
62 x 50.5 cm
Despite his increasingly reclusive life, Guirado retains his passion for the arts and on occasion continues to promote this. In 2000, with the support of the Mojacar town hall, Guirado founds the Plaza del Arte (Art Square) with a few other local artists. This group of artists, predominantly from Mojacar and the Almerian Levant, gather every Sunday evening to exhibit their work, paint and share ideas.
In 2001 Guirado is honoured at the Malta Art Biennial for his prolific body of work. 105 countries are represented at the exhibition, with more than 110 artists who are selected by the President of the Maltese Biennial and the Centre for Visual Arts, Dame Françoise Tempra. That year he exhibits once again in Spain for CajaSur at the Miguel Castillejo Cultural Centre in Jaen. In 2003, he features his last exhibition entitled Intrarrealismo, at the Manolo Rojas gallery in Madrid. In 2004 Guirado is reported to be opening a gallery in Mojacar, which would have been named La Medina and would have exhibited his works and that of other collaborative local artists, however, this project never comes to fruition.
Throughout his extensive international career and over 54 years of working as a professional artist, Guirado’s works have been collected by personalities such as King Hussein of Jordan, Catherine Dickens, J.D. Salinger, Cardinal Gilroy, Art Critic Manuel Quintanilla, Pedro Gilabert, Robert Galstian, Walter Schindler & John Schlesinger, to name a few. Additionally, Guirado’s works have been either featured or donated to several museums across the globe, including the Museo Nacional Centro de Arte Reina Sofia in Madrid, Malta National Museum of Fine Arts in Valletta, Malta, Casa Museo Gilabert in Arboleas, Spain and The Quentovic Calais Museum in France.
Locos por el dólar,
Crazy for the Dollar, 1989
Acrylic on canvas
81.5 x 100 cm
Press attention around Guirado’s artistic legacy has been wide and prolific but perhaps one of the most poignant critiques entitled, ‘Arte y misterio’, was written by the journalist Manuel Portillo Lopez where he states that Guirado,
[…] has been described as the painter of the 21st century by a London magazine. We always find new facets in his creations, new images, which combined with an elaborate juxtaposition of forms transport us to a hidden world that is full of complexities, philosophical and metaphysical concepts that clash with this materialistic and harsh society where stupidity is manifested in an extravagant and contradictory way. Thus the fight for the hidden aspirations of our heart, where material forms are transmuted like a vital force, resulting in absolute existence. There is no doubt that Guirado’s paintings convey his thoughts on the social problems that affect the world. He is a painter that is deeply engaged with his time, whom confronts today’s reality of endless instability, which is the product of psychological and spiritual contamination. His art is an attitude, an internal feeling that informs us about the phenomena that lie beneath reality and hide behind his experiences.
When asked how he would describe his own painting, Guirado replied “I would describe it as Intrarealist painting. It is the type of painting that one has to see with the third eye, the eye of the mind.’’
Photograph of Guirado
Guirado passes away from cancer in July 2010 at the Inmaculada de Huércal-Overa Hospital, one month short of his 78th birthday. His visionary legacy continues through the work of his daughter, Catalina Guirado, and The Guirado Estate.
My father was a painter influenced by Eastern philosophy whose work tries to reflect the anger, hunger and desperation in mankind. His visionary work seems to align with the prophecies of 2012. He was mainly concerned with the end of a cycle in the history of civilisation. Like most essentialists his painting was subjected to a radical purification and he succeeded in crossing the frontier between realism and visionary realism. Much of his work revolved around a tunnel of white light, of immaculate purity and infinite length, with rows of people heading towards that final mystery. It is the tantra that inspired him to be honest with himself whilst relating to the past and present to forecast the future. It is for this reason that his work contains the mysteries and doubts that all human beings carry inside them. In summary, my father was a fusion of both the Renaissance and the Surrealist world. Catalina Guirado, 2011.
El Túnel de Kali,
Kali-Yuga Tunnel, 1989
Acrylic and newspaper on cardboard
90.5 x 110.5 cm
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