Artist analysis - Manolo Millares

Manolo Millares - Artist analysis

Manolo Millares was an abstract Spanish painter born on the 17^th of January, 1926, Las Palmas Canary Islands, Spain. He was a self-taught artist who began by painting in watercolours. By the late 1940's ha was introduced to Surrealism which is a French Avant-garde movement in art and literature developed in the 1920's in which the Artist interpret the subconscious mind and let imagination flourish. Whenever visiting Madrid for the first time in 1953 Millares became interested in abstract paintings, in 1955 he moved to Madrid, he began making various dramatic collages from found materials such as Hessian, ceramics wood and other materials. In 1957-1960 he co-found the Avant-garde artist group “El Paso" (“The Step”). Millares died on the 14th of August, 1972 at the age of 46.

Here is an example of his artwork below

(Manolo Millares – “Painting” 1964, acrylic paint on canvas, 391 x 464 mm ( 1)

It is said that in earlier stages of his life when he was interested in Surrealism he would create pictograms influenced by Paul Klee and Joan Miró. Below are images of their work

(On the left Paul Klee “Static-Dynamic Gradation” 1923, Oil and gouache on paper bordered with gouache, watercolour, and ink, mounted on cardboard (2) on the right Joan Miró “The Conductor” 1976, Intaglio print on paper (3)

The resemblance between these two artists work and Millares' art work was the effective use of media that created shapes, figures and lines which may be ambiguous, yet the main focus point of the painting. This could link back also to the fact that all of these three artists were influenced by the movement of surrealism, which may be the reason for their particular styles. It also appears that the artists have a similar colour palette of earthier and darker tones, with hints of lighter or brighter areas within the composition, which adds depth to the paintings as well as a main focus point that stands out from the rest of the background hence the whole paintings do not appear bland.

Style and technique wise as mentioned Millares often used hessian for his collage paintings, he would usually create his work by burning, tearing, tying and then stitching the materials together which he would also incorporate with paint. His work is said to be characterised by the rough textures of materials.

One piece of his artwork that I will be analysing is called “Painting 150” which I first saw whilst visiting The London Tate Modern Art Museum, during half term in February 2015.

(Above Manolo Millares “Painting 150” 1961, oil paint on canvas, 1308 x 1622 mm, Tate Modern Art Museum)

As many of Millares' other artworks, “Painting 150” is in an abstract style, whenever looking at this painting in the museum my first impression from a further distance I did not think about the meaning behind the painting as there was no particular subject matter to it, however after closer observation I realised the canvas painting was not a solid piece although in the frame it appeared like the canvas was torn and ruined and then stitched up together however unevenly. This gave me the impression that the painting interprets a dark emotional state, somewhat of pain, damage or even recovery or healing. It is like the artist was trying to conceal the fact that the canvas is no longer the same state as it was originally, which can relate to how people withhold sad and negative experiences and try to hide them away. Millares would destroy the canvas from its original shape and form and recreate it with some alterations to make it look as if its been fixed up.

In terms of technique Millares most likely began by ripping up the canvas fabric or possibly cutting into it (it would seem more approachable to do so whilst the canvas fabric is not stretched onto the frame, however it could have been otherwise) He then stitched up the fabric back together however in some sections Millares stitched up fabric more scrunched up together making it build up, hence becoming more uneven and 3D, whilst other parts of the canvas would then become empty space due to fabric being missing. He also used black oil paint for the base of the canvas fabric, he covered most of fabric surface area with it, apart from some smaller sections which were left the original colour of the fabric, this added some variation and contrast between the piece as the whiter sections bring out and highlight the torn fabric pieces.

I chose this painting in particular because unlike other paintings I saw, this painting not only focused on portraying the colours and marks, but also involved manipulation of the canvas for a specific reasoning, hence I really wanted to try out this style and technique myself as it seems to allow emotion to come through and can be quite calming as you let your feelings out into your work. In the museum It also brought me back to thinking about the idea of unfunctional shells and how they slowly break and become nothing else but a decoration or a piece of the environment with no purpose.

The way Millares stitched up the painting created a very defined uplift to the flat 2D surface of the canvas, as the fabric sticks out more it adds depth and shadows to the overall piece, the holes in the canvas also create a shadow behind them which over all makes it look more 3D.

There are not many clearly defined or precise lines or shapes in “Painting 150”. Millares only created more vivid free hand organic lines and shapes with thread whenever stitching the fabric up, however these lines are almost concealed and blended with the black background hence only an outline is visible. Other visible lines are the thin creamy white lines from the visible fabric base, these also appear free flow, however thinner and more delicate which creates an interesting contrast between the harsh and rough surface of the canvas and something lighter and more graceful. Millares also created lines by the way he folded the fabric together, these lines are less harsh and more blended with the whole painting, however since they are mainly in the centre of the canvas they accentuate that area the most.

In terms of composition Millares focused most of the detail onto the centre of the canvas, as it is the most textured part with a lot of white fabric showing in that area. Hence the rest of the canvas is mostly black toned because if the whole canvas would consist of lots of patches of the white fabric it would feel noisy hence the viewer would be distracted from the focal point. Whereas by balancing out the tones more consistently Millares created a complimentary and balancing monochrome contrast between the tones, which are not too harsh for the eye and somewhat muted.

Overall I think the style, technique and ideas of Millares work can be relatable to my theme of shells without a purpose and function as they are no longer from where they originated hence unwanted and neglected. His artwork also emphasises how a media such as a canvas or hessian can be torn down from its original form or state, which in a way makes it less respected or valued, and how it is then reconstructed but it will never be of its original form purpose or quality as possibly intended, hence viewed less desirably. His style can influence me to think of more ways how media can be manipulated to create surfaces and forms as well as making my exam response more unique.

References

1. Manolo Millares – “Painting” http://www.tate.org.uk/art/artworks/millares-painting-t02385
2. Paul Klee “Static-Dynamic Gradation” http://www.metmuseum.org/collection/the-collection-online/search/484862
3. Joan Miró “The Conductor” http://www.tate.org.uk/art/artworks/miro-the-conductor-p07358