Galeria Marc Domènech

Alberto Sánchez Pérez (Toledo, 1895 – Moscow, 1962) was a Spanish sculptor and painter, co-founder with Benjamín Palencia of the School of Vallecas, an avant-garde movement rooted in landscape and Iberian art. Born into a humble background, he moved to Madrid in 1907, became involved in socialism, and began his artistic training. A regular visitor of the Prado Museum and friend of Federico García Lorca, he contributed set designs for La Barraca theatre. During the Spanish Civil War, he fought at the front and later worked on cultural projects in Valencia. In 1938, after his studio was destroyed, he went into exile in the USSR, where he taught drawing to Spanish refugee children and worked on projects such as the set design for Don Quixote (1957). He rebuilt lost sculptures and, despite exile, remained deeply Spanish in his artistic identity. He died in Moscow in 1962.

Francisco Bores (Madrid, 1898 - Paris,1972) was a Spanish painter associated with the new School of Paris. He trained under Cecilio Pla and took part in Ultraist gatherings in Madrid. In the early 1920s, he created woodcuts and engravings for magazines such as Cruz y Raya and Revista de Occidente, and exhibited at the National Exhibition of Fine Arts (1922). In 1925, after modest success with the Society of Iberian Artists, he moved to Paris, where he met Picasso and Juan Gris and held his first solo exhibition in 1927. Fully integrated into the Parisian art scene, he exhibited throughout Europe and the US, collaborated with prestigious galleries, and illustrated works by Lorca and Camus. Spanish audiences did not discover his work until the late 1960s. He died in Paris in 1972, internationally recognised.

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Germán Cueto (Mexico City, 1893 - 1975) was a Mexican painter and sculptor. His first trip to Spain was in 1916, and during the 1920s he was part of the “Estridentista” group, exhibiting at the Café de Nadie. From 1927 to 1932, he lived in Paris with his wife Lola Velázquez Cueto, where, thanks to his cousin María Blanchard, he came into contact with major avant-garde figures such as Brancusi, Julio González, Henri Laurens, Lipchitz, and above all, Torres-García.

In 1929, he exhibited some of his famous masks in Barcelona, at the Dalmau gallery. In 1930, he became a member of the Paris-based abstract artists group “Cercle et Carré”, founded by Torres-García and Michel Seuphor. After returning to Mexico, he maintained contact with Torres-García, focused on abstract sculpture, and co-founded the so-called “Estridentista” group. In 1964, his work was recognised with an honourable mention at the Second Mexican Sculpture Biennial, and in 1967 he was awarded at the Third Biennial for his bronze piece Circonvolución. Germán Cueto became a founding member of the Academy of Arts in 1968 and died in Mexico on 14 February 1975.

Hernando Viñes (Paris,1904-1993) was a Spanish painter based in France and a key member of the second School of Paris. He discovered his vocation during a visit to the Prado and began his training in Paris, studying at the Academy of Sacred Art and under André Lhote and Gino Severini. From 1923, he exhibited at the Salon d’Automne in Paris and became part of the circles around Ángeles Ortiz, Peinado, and Bores. During the Spanish Civil War, he worked with the Republic and helped design the Spanish Pavilion. During WWII, he lived in exile in Saint-Jean-de-Luz and later resumed painting and teaching until his artistic revival in 1965. In 1988, he was awarded the Gold Medal for Merit in the Fine Arts. His work, strongly influenced by Fauvism, is housed in international museums such as Reina Sofía and the Pompidou.

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Joaquín Peinado (Ronda,1898 - Paris,1975)

Joaquín Torres-García (Montevideo, Uruguay, 1874-1949) was a versatile artist — painter, sculptor, theorist, teacher and writer — with Uruguayan-Catalan roots. Trained in Barcelona, where he lived for over 30 years, he became a leading figure of Catalan Noucentisme and an early pioneer of international avant-gardes. He collaborated with Antoni Gaudí and painted murals in the Palau de la Generalitat in 1913. Torres-García was a pioneer of muralism and geometric abstraction, founding the Cercle et Carré group in Paris, where he met Mondrian, Kandinsky and Arp. He also lived in New York, exploring machine-age modernity, and in Madrid, where he promoted Constructivist Art. In 1934, he returned to Montevideo, where he founded the Taller Torres García, a cornerstone of Latin American abstraction. He wrote over 100 theoretical texts and left behind a vast, influential body of work that enjoys global recognition.

José Caballero (Huelva,1915 - Madrid,1991)

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José Gutiérrez Solana (Madrid, 1886-1945) was a prominent Spanish painter, printmaker, and writer, known as "the painter of black Spain”, for his dark and critical portrayal of society. He studied at the San Fernando School of Fine Arts and travelled extensively across Spain, capturing popular and marginal scenes that deeply influenced his work. Solana moved in bohemian circles and intellectual gatherings, notably the Café de Pombo with Ramón Gómez de la Serna. His unique style, detached from both academicism and the avant-garde, was initially overlooked by institutions but later gained respect. He exhibited in Paris in 1928 with little success. During the Spanish Civil War, he took refuge in Valencia and later Paris, where he published París (1938). He returned to Madrid in 1939 and died in 1945.

Julio González Pellicer (Barcelona, 1876 - Arcueil,1942) was one of the most significant sculptors of the first half of the 20th century. Born into a family of blacksmiths and goldsmiths, he was trained in that artisan tradition. Though of Castilian descent on his father’s side, he was born and raised in Barcelona but spent most of his artistic career in Paris, where he formed a close friendship with Pablo Picasso. González became known for his innovative sculptures, often made of iron and large in scale, with Cubist influences and a strong focus on the human form, though tending toward abstraction. His work is held in major collections including the Museu Nacional d’Art de Catalunya, Museo Reina Sofía, Centre Pompidou and IVAM, the latter of which has a dedicated space thanks to donations from his heirs.

Manuel Ángeles Ortiz (Jaén,1895 - Paris, 1984) was a central figure in the renewal of Spanish art from the 1920s up to the Spanish Civil War, influencing both mainland artists and those based in Paris. He collaborated with the magazine Litoral and was aligned with the international Modern Movement, often described in Eugenio Carmona’s terms as part of Art Nou. His career included periods in Paris (1922–1932), exile in Buenos Aires (1939–1948), travel to Granada, and a return to Paris in 1948. Influenced by Picasso, he explored late Cubism and monumental classicism. His friendship with Manuel de Falla reinforced ties between modern art and folk tradition. Though his style defies classification, he rejected pure abstraction, leaning instead towards lyrical, dreamlike imagery akin to Surrealism. In the 1950s, he introduced landscapes and the human figure, creating poetic yet structured works close to informalism.