{"status":true,"msg":{"data":{"id":37007,"auction_id":47,"set_id":75,"lot_number":"43","artist":"José Joya (1931 - 1995)","title":"Untitled","starting_price":1100000,"signed_dated":"signed and dated 1961 (lower right)","medium":"oil on paper","size":"19 1/2” x 26” (50 cm x 66 cm)","property":null,"coa":null,"provenance":null,"exhibited":null,"literature":null,"write_up":"Bold brushstrokes traverse the canvas with a haphazard orientation.  The traces of the paint loaded brush are highly visible, overlapping,  and forming thick ridges, pools of pigment, and streaks and  splatters of impasto. There are some areas of defined color  shapes to stabilize and give weight to the composition.  This work from 1961 anticipates Joya’s vigorous style in the  mid1960s which shows affinity with abstract expressionism in  its kinetic impulse, its strong gestural drive, its bold and sensuous  handling of the medium with open assertion of the materiality  of the work. However, a closer acquaintance with the artist’s work  of this period will reveal certain fundamental differences with the  action painters, particularly with Jackson Pollock.  Earlier, in 1959, Joya further explored his spatial concepts in several  canvases of large dimensions, such as “Space Transfiguration”.  In these, the artist meant to create a total environment and the  visual experience consists in being enveloped in a pervasive and  resonant space modified by light and atmosphere. From this  evolved the Yeseria series, (yeseria being the intricate relief work  of Spanish mudejar structures) characterized by a style of impasted  shapes, interlocking, jewel-like facets that glowed from within and  at the same time reflected the all-pervasive light. Gesture is very  important in this kind of painting. In contrast to this impersonality  akin to automatism, Joya’s art derives from subjective forces.    Gestural painting draws its sources not only from surrealism but from  Asian Calligraphy as well, which places a premium on spontaneity and  quick insight.  In an arguable statement, Leonidasd Benesa wrote in 1977: “It is  true that Fernando Zobel was already painting “non-objective “  or non-figurative abstract works in the Fifties, particularly the ‘Saeta’  series. But it was Joya who was to give “pure painting” a local  habitation and a name, his own. This is further said with alld ue respect  to Rodolfo Paras Perez, who came up with a solitary prize winning work  (AAP annual 1963) called ethereal glow under the influence of Mark  Rothko, and to Lee Aguinaldo, with his flicked on texturologies of color,  e.g., Red City (also an AAP prize winner), in the spirit of Jackson Pollock  and Mathieu.  Like Pollock, he directly manipulated paint, also like him; he is physically  in the work, transferring his energies to the emerging picture. The  physicality of technique as much as the slashed skeins of pigment were  what really mattered. Intuition, free association and the painting process  itself became both subject and technique right at the beginning","lot_group":"FURNITURE","lot_details_html":null,"alias":null,"hp":2400000,"bp":0.168,"isWithdrawn":0,"accounting_hp":2400000,"userBid":5927,"isPaid":0,"userId":22,"lot_status":"SOLD","isDone":1,"bid_history_id":null,"reserve_price":0,"hammer_price":2803200,"fav":0},"image":[{"id":35032,"img_url":"https://leongallery.sgp1.digitaloceanspaces.com/v2/auction/47/75/lot/43.jpg","isFeatured":1}]},"increment":[2200000,2400000,2600000,2800000,3000000,3200000,3400000,3600000,3800000,4000000,4200000,4400000,4600000,4800000,5000000,5500000,6000000,6500000,7000000,7500000,8000000,8500000,9000000,9500000,10000000,11000000,12000000,13000000,14000000,15000000,16000000,17000000,18000000,19000000,20000000],"prev":42,"next":44,"count_bid":0,"bid_history":[],"tokenExpired":1}