Woman and Bed
Pedro Mozos Martinez (1915-1982)
Date: Mid 1960s
Signed: lower right corner
Technique: watercolor on paper
Dimensions: Image: 25x32 support: 45x52
Pedro Mozos was a prestigious artist: a painter of oil paintings and watercolors, as well as a prolific draftsman.
He was born in Palencia and his training was self-taught. He held his first individual exhibition when he was only 17 years old at the Círculo de Bellas Artes (1933) under the sponsorship of the painter Ignacio Zuloaga. Since then he has held countless individual and group exhibitions.
An artist with a baroque spirit, he was especially concerned with the past and studied the Venetian and Spanish masters: Titian, El Greco, Velázquez, Goya... In addition to his pictorial splendor, Pedro Mozos enjoyed great mastery of drawing.
Among the Spanish painters of his generation, who from the 1940s onwards tried to recover the normality lost during the civil war for the practice of art, Pedro Mozos (Herrera de Valdecañas, Palencia, 1915‐Palma de Mallorca, 1982) occupies its own place at the crossroads between tradition and innovation. His figure is reaffirmed as that of a solitary man who throughout his life struggled to express in painting his ideas about the nature of art, ideas that were rooted in the great classical current of Western art, and that, at the same time, maintained an expression Very personal, exclusive, making his work a world apart. Pedro Mozos has become an artist whose painting has always been respected, but whose merits have never been easy to assess for what they truly mean. During his professional life, his radical independence in criteria and attitude often made him personally difficult, even for his own supporters; Thus, among them, Eugenio D'Ors himself - who had literally recognized Mozos as a genius, and who had welcomed his work in the first Hall of Eleven - had to immediately suffer his attacks. On the other hand, Mozos's work produced a certain confusion because it did not accommodate academic naturalism, nor the avant-garde bets, nor the figurative renovations of his time, from those postulated by Benjamín Palencia to those of neo-figuration.
In perfect original condition, presented in an elegant golden frame with protective glass and a gallery inventory tag on the side corner
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