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Glauco Capozzoli

Glauco Capozzoli (1929-2003) was an Uruguayan Postwar & Contemporary painter and engraver who was born in Montevideo 1929. In his youth he studied at the National School of Fine Arts in Montevideo and  graduated between 1945 and 1947 where he won 7 medals at the National Salon of Fine Arts. He went on to become a full time artist in the 1950s mainly devoted to engraving. Between 1961 and 1963 he completed two frescos in the residence of the president of National Government Council of Uruguay.

In 1966 Capozzoli travelled to study in Europe and resided in Italy and Belgium. Between 1968 - 1970 he lived in New York and studied engraving techniques at the Pratt Institute for Contemporary Printmaking. In the 1970s, he lived in London where his artworks were sold to the USA and Japan. He also began his dedication to painting, a field where its action would tip forward a theme focused on the human figure: prints evocative, populated by highly stylized female presences, filtered through transparencies and lighting effects that supported the refinement. 

He moved to Spain in 1971 settling near Barcelona and from 1990 Capozzoli resided in Borja ( Zaragoza ), Spain, where along with his wife Sonja Sananes founded the “Taller de Grabado Valeriano Bécquer ”, an engraving workshop in which they trained local artists.  In 1999, together with the most important painters in Latin America, he founded the "Macla Museum of Contemporary Latin American Art" in La Plata, Argentina.

If we were to study as a whole the work of GLAUCO CAPOZZOLI from the time when he was looking for a peculiar expressionism of people and things. When synthesis was the first concern of his stroke and his color, until the present moment we will see that the Uruguayan painter belongs to this rare lineage of men who orient the ideals of perfection in their art towards territories of the past in search of a world of beauty and emotion already disappeared and an almost magical concept of artistic crafts in which very few people are the that accompany you.

In a first perspective, capozzoli's journey on a journey to the past, through which he undergoes an authentic metamorphosis of his human concerns. vital and aesthetic. On the one hand, his painting is loaded with a concern for man and his vicissitudes that seems more typical of the humanists of the Renaissance than of our time of the masses and machines. His work is crossed by a breath of concupiscence, by a youthful lust, which has nothing to do with the petty and sappy eroticism of our consumer society and, above all. For a search for the ideals of perfection that have predominated in the most vibrant eras of art. CAPOZZOLI walks into the past in any of his works, in his meticulous tables, in his engravings that are directly linked to the ways of stamping of the last years of the sixteenth century, in the diverse and always surprising way with which he undertakes artistic work with an enthusiastic devotion.

The contours of mystery

For GLAUCO CAPPOZOLI each painting is an astonishment, in which a multitude of mysteries are reconciled and integrated. constellations of endless signs laments of sensations and feelings and, above all, conjugations of enigmas.

If we read carefully the different mysteries that make up each painting of CAPOZZOLI a common stroke, a convergence. If there is a mystery in the way of repeating the image of disengaging in the same way that oblivion does, it is a loving and loving mystery. The same when the red sings about the garments or the mother-of-pearl goes to his appointment with the flesh. In the translucent and in the compact, color is always an urgency in love and all mysteries are solved in a single and at the same time multiple, in a single enigma of love, and painting is a search for the boundaries of this mystery, it is a journey through these always inexplicable borders.

The Fantasy Dominator

Aware that we are using a conventional expression to apply it to a pictorial work that goes far beyond fantasy, we say that GLAUCO CAPOZZOLI is a fantastic, that is, someone who tries to find a profile of reality in the environment of the fantastic and at the same time who aspires to lord over the real through the thousand intuitions that fantasy provides.

The things that happen in the paintings of GLAUCO CAPOZZOLI are told in a language of perplexed reality in which the painter seems to tell us that he does not know how things have happened, but that these that he tells are events that have come to his gaze and his imagination. On this path CAPOZZOLI becomes a strange magician, who dominates reality with a strange equation of mystery and magic and who reigns over fantasy with the most rational territory of his visual and descriptive power, of his endless and meticulous craftsmanship.

The Nameless Space

As in life itself. As in the poetry that is his exaltation and as in the art that is his reflection, in the work of CAPOZZOLI tension and calm alternate. Sometimes the figures fly enthusiastically and extremely in a wind that has nothing to do with atmospheric phenomena, which is not the gale of history either, it is the wind of man, the brightness of man burning in his desires and his passions and in an infinite desire not to die. At other times, the paintings are filled with a strange calm, the figures look at us at the same time so far and so close that we are only a moment there in their eyes. And it is then that we perceive a new coordinate of reflexive foolishness; between the painting and us the painter has established an atmosphere made of anxiety, nostalgia, hopelessness, denied fear and only sight can reach the painting because between him and us an unnamed space stands in the way, a strange desert, something that can be transcended, but not by the lips, nor by the hands, perhaps not with the mere experience of the gaze. If we let it grow for a few seconds, the atmosphere will envelop us and we will be its prisoners; from mere spectators, we will have become interpreters and we will find them in that nameless space that only defines the inxorable presence of the painting.

The Lost Dilemma

Before the work of CAPOZZOLI the feeling of restlessness that it produces has nothing to do with the perfection of its drawing and its color, with the harmonious way in which all its work is composed down to its most unreal profiles. The dilemma arises and burdens us with restlessness and worries because we do not know if this is true, because the artist has dreamed it and painted it or if it is the transfer that is made to us from a distant dimension of visions and hallucinations. Nothing is more real than the dream, nothing more realistic than the dreamer, nothing as fantastic as reality itself. And then this American artist, who has lived in Spain for several years, offers us again and again his paintings so that in them we leave lost the alternative and the dilemma, the concern and the memory, so that the painted surface turned into a confusion of forgetfulness, transmits to us only the feeling that for a moment we have seen something as beautiful as inexplicable.
                           
 - Raul Chavarri

 

His first individual exhibition was held at the Subterráneo Municipal of Montevideo in 1959, and followed at Galeria il Cannocchiale (Milán), 1966; Amigos de la música (Hospitalet), 1972; Sala Gaudí (Barcelona), 1973, 74, 76, 78, 80, 82, 84 and 90; Galerie de Grielard Schilde (Anvers, Bélgica), 1977; Galería Kandinsky (Madrid), 1978; Kunst und Psyche (Colonia, Alemania), 1980; Galería Bruzzone (Montevideo), 1986, 87, 88; Casa de Cultura (Borja, Zaragoza) , 1990; Monasterio de Veruela (Vera del Moncayo, Zaragoza), 1992; Gallerie am Opernring (Viena, Austria), 1993. Capozzoli’s works are held in collections in Paris, Lugano, New York, Washington, Tel Aviv, Copenhagen, Pamplona, Santander, Ibiza, Tokyo, Yokohama, Santiago of Chile, London, etc. Capozzoli’s works are in the collections of the Museo Municipal de Bellas Artes de Montevideo, Museo de la ciudad de Skopje (Yugoeslavia), The Brooklyn Museum (Nueva York), Museo de la ciudad de Hospitalet, MacNay Art Institute (San Antonio, Texas) and Museo de Arte Moderno de Barcelona.