THE WRITER AND THE BALLERINA T HE LATENINETEENSIXTIES WERE

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The Writer and the Ballerina


TTHE WRITER AND THE BALLERINA T HE LATENINETEENSIXTIES WERE he late-nineteen-sixties were a key time for Arranz-Bravo, for his work, and for an entire generation. These were exhilarating years of social change. The hippie movement was beginning and, in Spain, still under the yoke of the Franco dictatorship, movements working for change and greater freedom began to evolve. In France, this widespread desire for change led to the events of May’68, an episode that would influence new generations of young people around the world.


Arranz-Bravo entered Barcelona Art School in 1959. There, he found a creative environment and teaching methods that were very much anchored in the past. However, he also met several people who would later become leading artists in their generation: the likes of Francesc Artigau, Gerard Sala, Serra de Rivera, Robert Llimós, Gonçal Sobré, Pere Puiggros and Rafael Bartolozzi.


These are just a few of the names of those involved in a large number of art projects launched in those early years: exhibitions, books... We should highlight, particularly, the exhibition “New Expressions” at the Sala Gaspar gallery in 1966, when Arranz-Bravo shared the space with the creators of The Writer and the Ballerina. These were also the years of the first public recognition: the artist received the Ynglada Guillot prize and began to stage solo shows.


Meanwhile, the Sala Gaspar took the new generation under its wing and constantly set them challenges: publications of engravings, books, exhibitions... And it was during this time, in 1967 to be exact, that Arranz-Bravo’s work underwent a drastic transformation. These were years when the artist was beginning to define his own, personal style.


And it is also during this time of creative frenzy that this work was born. Encouraged by the show Mes-Plec, which took place on 28 October 1967, promoted by the Sala Gaspar, the artist invited the poet Francesc Parserisas to write the text for the catalogue. They had met through a mutual friend, the painter Gonçal Sobré, and this initiative marked the beginning of a series of interesting artistic/literary collaborations. Outstanding among these were, for example, Granollers Fulla Baixa, published in 1973 by the Sala Gaspar, and La gallina i l'adolescent enterrant l'artista sota el galliner.


A close friendship sprang up between the two artists almost immediately, and it is therefore no surprise that they should decide to give this quadriptych to Francesc Parcerisas as a wedding present in December of that same year, 1967. The title of the piece, The Writer and the Ballerina, alludes to the forthcoming event and to its recipients: Francesc Parcerisas, a writer, and his wife, a dancer.


TTHE WRITER AND THE BALLERINA T HE LATENINETEENSIXTIES WERE he ensemble, comprising four canvases each measuring 46 x 55 cm, comprises four paintings, by Rafael Bartolozzi, Arranz-Bravo, Robert Llimós and Gerard Sala. Four artists, four works and a single theme. Each painted a personal, individual work, according to his own style and technique. Paintings that work together but could perfectly well be shown separately. Independent creations that, nevertheless, have something in common, due, no doubt, to the fact that all four artists were from the same generation.


RTHE WRITER AND THE BALLERINA T HE LATENINETEENSIXTIES WERE afael Bartolozzi is the artist of the four who produced the most abstract reading of the theme. Bartolozzi’s piece is based on movement, represented by white, in contrast to the darker, more powerful colours that represent the writer. Arranz-Bravo, on the other hand, represents the figure of the writer more clearly, in a transfigured vision of the act of writing. We see this figure with a sheet of paper before his face, his hand in writing position on the desk, as dancing legs erupt onto the canvas.


Taking a completely different approach, Robert Llimós represents neither the ballerina nor the writer explicitly. However, they are both present in the tools of their respective trades: feet (the body) and a typewriter. All depicted with the force typical of Llimós’s art during this period, in contrast to the more ethereal style that Bartolozzi and Arranz-Bravo practised in those days. Finally, Gerard Sala contributes a dark, well-defined portrait, far removed from the dynamic quality of the other works, in which the writer is seen in profile as he works. Using a palette of violet black and blue tones (colours which would eventually define his entire work), Sala makes a complete departure from the lighter colours used by the other three artists, giving dynamic contrast to the whole piece.

THE WRITER AND THE BALLERINA T HE LATENINETEENSIXTIES WERE THE WRITER AND THE BALLERINA T HE LATENINETEENSIXTIES WERE








The Writer and the Ballerina is, then, a work that reflects a youthful, effervescent, restless period. A time of hope, of first times, years of madness and hard work. The reflection of an entire period, condensing and synthesising the spirit of an entire generation.


Bernat Puigdollers



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