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Gabino, Amadeo

Amadeo Gabino Úbeda («Amadeo Gabino»), Valencia, 1922-Madrid, 2004. He was trained at the School of Fine Arts of San Carlos, in his birth town, until 1944 and subsequently at the workshop of his father, the Valencia-born sculptor Alfonso Gabino Pariente (1894-1975), an image maker and portrait painter, who gave him a sound knowledge of the trade. In this city he took part in the aesthetic experiments of the Parpalló Group of artists. At the end of the nineteen-forties, he settled in Madrid. He completed his studies with official scholarships in Rome, Paris and Hamburg, and with another scholarship granted by the Ford Foundation in New York. In Hamburg, from 1958-1960 he completed his final stage of realistic figurative sculpture (female nudes in bronze). His passion for travelling led him to establish personal relationships with leading figures in the artistic vanguard, such as Marino Marini, Lucio Fontana, Giacomo Manzù, Carlo Carrà, Louise Nevelson, Max Ernst, Alexander Calder, Seymour Lipton, Jacques Lipchitz, Alexander Archipenko, Jesús Rafael Soto and the architect Louis Kahn.

From 1961-1965, his work focussed on abstract constructivist approaches which took two parallel directions: thread-like geometrical structures with a powerful architectural strength («Construcciones» series), with which (in the words of Corredor-Matheos) he endeavoured to unveil the void; and essential geometrical figures which, on the contrary, were highly influenced by expressive criteria which found their inspiration in nature («Pleamares» series). Around 1966, his most characteristic style was defined, within the area of constructivism, by using a very personal collage technique. In this way he created a world of geometrical objects, by superimposing burnished, golden or patinated metal sheets, cut into circular shapes, generally concentric. He made frequent references to space objects. He worked on the assemblage of iron, steel, aluminium and brass, although he also cultivated other techniques such as drawing, mono-printing, collage, even ceramics and the design of items for the home and garden, as well as engraving, which he became noted for after going into this area in 1958, following his stay at the School of Fine Arts in Hamburg and his subsequent stay at the workshop of Antonio Lorenzo and that of Dimitri Papagueorguiu («Dimitri»), in Madrid. The resulting works show embossing and the overlapping of coloured strips which recall the spirit of his own private world of sculpture.

Major individual exhibitions: Mateu Gallery, Valencia, Museum of Modern Art Madrid, 1952; Museum of Contemporary Art, Madrid, Collège Néerlandais, Paris, France, 1953; Neblí Gallery, Madrid, 1961; D"Arcy Galleries, New York, Galería Die Gute Form, Hamburg, 1962; Grises Gallery, Bilbao, 1966; Lauter Gallery, Mannheim, 1967; Juana Mordó Gallery, Madrid, Onnassch Gallery, Berlin, Kunstverein, Friburgo, 1969; Val i 30 Gallery, Valencia, 1970; Art in Progress Gallery, Zurich, Alice Pauli Gallery. Lausanne, 1972; Museum of Fine Arts, Bilbao, Juana Mordó Gallery, Madrid, 1973; René Metrás Gallery, Barcelona, Juana de Aizpuru Gallery, Sevilla, Egam Gallery, Madrid, Casa Damas, Sevilla, 1974; Prisma Gallery, Zaragoza, Contacto Art Gallery, Caracas, 1975; Caja de Ahorros de Alicante y Murcia, Alicante, Arras Gallery, New York, 1976; Trivet Gallery, Alicante, 1977; The Art Package Gallery, Chicago, 1978; Sala Luzán Hall, Zaragoza, Lucas, Gandía Gallery, Valencia, Olivetti, Ivrea Cultural Centre (Italia), 1979; Joan Prats Gallery, Barcelona, Tórculo Gallery, Madrid, Rayuela Gallery, Madrid, Rodin Gallery, Santa Cruz de Tenerife, 1980; Gisele Linder Gallery, Basel, 1981; Laute Gallery, Mannheim, Parke 15, Gallery Pamplona, 1982; Museum of Modern Architecture Kiasma, Helsinki, 1983; Municipal Cultural Centre, Alcoy (Alicante), Museum of Albacete, Editart Gallery, Geneva, 1985; Tórculo Gallery, Madrid, 1986; Herzog August Bibliothek, Wolfenbüttel (Germany), 1987; Kunstverein Oerlinghausen, Mönchehaus Museum für Modern Kunst, Goslar (Germany), 1988; Laute Gallery, Mannheim, Casa del Cordón, Burgos, 1990; El Coleccionista Gallery, Madrid, 1991; Laute Gallery, Mannheim, Stadische Kunshalle, Mannheim, 1992; «Collagen und Aquararellen» O.V.A Versicherungen, Mannheim, Museum Juan Barjola, Gijón (Asturias), 1994; «Grabados y Monotipos», Brita Prinz Gallery, Madrid, 1995; Museum Neue Galerie, Stadt Linz (Austria), 1998; IVAM, Centre Julio González, Valencia, Sala Luzón, Caja de Ahorros de la Inmaculada, Zaragoza, 3 Punts Gallery, Barcelona, 2000; «Jardins de Cap Roig», Fundació Caixa de Girona. Calella de Palafrugell, 2005. He has received the following prizes and awards: Third Medal in the National Exhibition of Fine Arts (195), First Prize in the Latin American - American Biennial. La Havana (1953), Great Prize in the 10th Triennial of Milán (1954), First Prize in the Industrial Design Contest, Madrid (1956), Prize in the International Sculpture Contest for Autopistas Mediterráneo (1974), National Prize and International Mention for Industrial Design, Valencia, Prize for Engraving, International Biennial «Ibizagrafic», Prize for Engraving, International Ibero-American Biennial, Mexico (1980), Honorary Prize, «VI Bienal Internacional del Deporte» Madrid (1982); Prize at the International Sculpture Contest, Stadt Schwagisch Hall (1987); Barón de Forna Prize, Royal Academy of Fine Arts of San Fernando, 2003. His work is to be found at major museums and public collections in Spain (Reina Sofia Art Centre, Spanish Museum of Contemporary Art, Sculpture Museum of La Castellana, Juan March Foundation and National Library, Madrid; Museum of Fine Arts of Bilbao, Museum of Contemporary Art of Sevilla, Museum of Contemporary Art of Villafamés, Museum of the 20th century, Alicante, Museum of Contemporary Art of Elche, Ibiza and Lanzarote, Museum of Fine Arts of Vitoria, Museum of Spanish Abstract Art of Cuenca, Museum of outdoor Sculpture in Santa Cruz de Tenerife, Es Baluard of Palma de Mallorca, Germany (Hamburger Kunsthalle, Städtische Kunsthalle de Mannheim, Städtische Kunstsammlungen de Ludwigshafen), Switzerland (Cabinet des Estampes de Genève), Finland (Alvar Aalto Museum de Jyväskylän), Bulgaria (National Museum of Sofía), Chile (International Museum of the Resistance «Salvador Allende», Santiago), Venezuela (Museum of Modern Art «Jesus Soto» of Ciudad Bolivar), Cuba (Museum of Fine Arts of La Havana), Korea (Olympic Sculpture Park Museum at Seul), United States (Brooklyn Museum of New York and Aschenbach Foundation for Graphic Art of San Francisco).


Sources of information:

RAMÍREZ DE LUCAS, J. «Amadeo Gabino», presentación al catálogo del Pabellón de España de la Feria de Nueva York, Madrid, Oficina de Publicaciones de la Comisaría General de España, 1964-1965. Amadeo Gabino, Madrid, Galería Juana Mordó, 1969. GARCÍA TIZÓN, A. Amadeo Gabino. Madrid, Servicio de Publicaciones del Ministerio de Educación y Ciencia, 1972. AGUILERA CERNI, V. «La estructura y la perfección», en Amadeo Gabino, Madrid, Rayuela, 1979, pp. 5-6, «Cuadernos Guadalimar» núm. 8. PATUEL CHUST, P. «Amadeo Gabino, la poética del espacio cósmico», Ars Longa, Cuadernos de Arte, 1995, núm. 6, pp. 81-87. ID. «El constructivismo escultórico de Amadeo Gabino», Millars: espais i historia, 1995, núm. 18, pp. 127-141. CORREDOR-MATHEOS, J. «Constantes y variantes en la obra de Amadeo Gabino», en Amadeo Gabino. Esculturas 1968-2000, Valencia, IVAM-Centre Julio González, 2000, pp. 9-18. ANÓNIMO, «Muere el escultor Amadeo Gabino, autor de obras expuestas en Pamplona», Diario de Navarra, 8 de Junio 2004. Prensa navarra del 24 de mayo de 1973; www.masdearte.com