Eduardo Sanz (Santander, 1928 – Madrid, 2013) studied at the School of Fine Arts of San Fernando in Madrid between 1953 and 1958. Son of a mother who was a welder in a factory, and a father who was devoted to industrial painting, he followed in the footsteps of the father until well into the twenties. This practical work will provide in the future a refined technique and a great craft to make and finish the works, to the point that there are very few artists today have been able to get to that level of quality, accuracy and neatness.
Eduardo Sanz was clear from the beginning that I wanted to be an avant-garde artist, that's why your first step pictorial, from 1960 to 1963, he was assigned to the informalist movement, so much in vogue during those years. That desire to be placed in the first line of cutting-edge we will accompany the whole life, though they soon relinquish the informalism because that style did not allow him to come closer and connect with your immediate environment. It was then when he began experimenting with various materials, and in particular with mirrors, the raw material of its second stage, which would cover up to 1974. At that stage the new material allowed him to interact and have a dialogue so intimate with the viewer, starting to use pieces broken and matches the mirror in an evolution that started from works markedly informal and expressionist until the end in other strictly formalistic and regular.
One of the reasons that explain this evolution was the participation, in 1969, in one of the courses of the Computation Center of the University of Madrid, dedicated to the Automatic Generation of Plastic Forms. From there on, and on, Eduardo Sanz makes of order and clarity formal one of its signs of identity, traits that are likely to be repeated in the next stage, known as the Letters of the Sea / Letters of Love, perhaps his most important work from the historical point of view and now fully mature and staff, using the flags of the maritime code as a language for the compilation of love poems, in the works of looks rational and geometric, surface, sleek and exquisitely finished, with a colorful, close to the proposed pop and fully conceptual, in addition to mysteriously symbolic.
Eduardo Sanz came to live in Madrid from Santander very young but was unable to bring yourself to the sea, for which reason it has been dedicated to the interpretation of its mysteries and to immerse themselves in its depths since its early stages. In a text about Eduardo Sanz, Francisco Calvo Serraller spoke of the metaphor baudeleriana of the sea as the mirror of the soul of the artist, as well as recorded the different uses formal and conceptual that the author has made the sea, "treating it as an object –glass, mirror, case; as a game –boat and rig–; as a symbol –headlights–; as metaphors –flags–; as a concept –– codes, etc."
In this retrospective exhibition in the gallery Fernández-Braso on the seas of Eduardo Sanz, will also be discussed wooden boats that carried out in the mid 70's and that they are treated and processed as if they were sculptures, and so will be exposed.
After the Cards are dealt from the Sea and from the boats, Eduardo Sanz has continued painting pictures of subjects related to the environment of the sea, as the series devoted to the portraits of marine and headlights, works to record mode pictorial have catalogued the vast majority of those civil constructions in Spain and form -along with the works of other artists - the current Art Center Faro Cabo mayor in Santander.
Finally, the exhibition of Eduardo Sanz will also be addressed, and a majority of the series that more popularity has given to the artist, the works themselves that the sea is the only protagonist. In these works no longer dominates the meaning, object and conceptual of its historical periods, but converge to different schools –hyperrealism, pop, abstraction - that empower the work of a marked personality and great originality. As pointed out by the own E. Sanz, choose "for the vertical format to break the well-thumbed format of the marine. The support is divided into two or three fields, horizontal, sky-land-sea. This division of spaces has been a constant. The horizon is high, with little heaven, ink, flat, painted without any emphasis to condense more interest in the central part and the floor of the sea. This need for heaven is to breathe and don't choke, but as of now this need of comfort, it is not essential, I will heaven and the box will be blatantly sea-sea".
Eduardo Sanz participated in the Biennale of Sao Paolo in 1963. Years later, in 1968, presented at the XXXIV edition of Venice ‘Chapel for an important man’, a piece that is part of the Reina Sofia Museum. On E. Sanz have written, among many others, Vicente Aguilera Cerni, Juan-Eduardo Cirlot, Manuel Conde, Julio Caro Baroja, Miguel Logroño, Josep Meliá, Bernardo Atxaga, Francisco Calvo Serraller, Marcos Ricardo Barnatán, Guillermo Pérez Villalta...