José María García Gutiérrez (1932-2010)
1963-1968. Graduated from a five year program at the Fine Art School of San Fernando (now part of University Complutense) in Madrid, specializing in Painting. He received Geometry classes from Professor Julio Fuentes Alonso.
1969. Completed a Graduate course in Art Education at the same institution.
1970-79. Served as assistant and associate professor at the School of Fine Arts (University Complutense) in the chairs of Perspective and Geometrical Drawing .
1973-74. Was awarded through public examination positions as Professor of Aesthetic Education in Laboral Universities and as Art Teacher at the National High School System.
1976-1979. Earned a three year degree from the School of Sociology at the University Complutense of Madrid; among his professors were Dr. Rodriguez Delgado and Dr. Maestre Alfonso .
1980. Studied Cinematography and TV production at the Spanish Institute of Technology and, under the direction of Gerardo Vallejo, at the Madrid Film School (Escuela Cinematográfica de Madrid).
1981-1983. Completed graduate specialized courses in Art Theory at the Autonomous University of Madrid.
1985-2010. Realized the body of his artistic work.
Among his written works, are :
-Introductory exercises in descriptive geometry : ( I) Cavalier Projection and ( II ) Axonometric Projection .
- Images by reflection.
- Plateresque Sculpture in Cuenca’s Cathedral and in the Monastery of Uclés .
- Arlanza Monastery Ruins.
Some words from Ortega y Gasset’s "The Dehumanization of Art" seem pertinent with respect to the work of García Gutiérrez, as they denounce how often we believe that "to run away from reality is easy, whereas it is the most difficult thing in the world. It is easy to say or paint a thing which is unintelligible, completely lacking in meaning: it is enough to string together words without connection, or draw lines at random. But to succeed in constructing something that is not a copy of the ‘natural’ and yet possesses some substantive quality implies a most sublime talent."
In the works of García Gutiérrez we also find some of the features which Ortega uses to define the 'new art' such as the tendencies to "essential irony" or to "avoid all falsehood and therefore to a scrupulous fulfilment"; even the defining feature may be there too, and that is that the artist would consider art as "a thing without transcendence".
If , Ortega says, "in the most abstract ornamental line a dormant recollection of certain ‘natural’ forms may linger tenaciously", as García Gutiérrez follows his "escape from the human", he certainly arrives in the ad quem terminus to an "heterogeneous wildlife" in which the natural or organic form mingles with the mechanical or artificial , as it happens perhaps today more than ever and it might happen even more in the future. But in these works it is not only the organic and the mechanic that meet, also the fantastic and the experienced or even a classic drawing technique and the spirit of street art found in graffiti.
The originality of this work might, hopefully, bring those already accustomed to abstract art, conceptual avant-garde and post-modernism back to state described and desired by Ortega when he says: "It is possible to envisage living in the company of the things represented in a traditional picture; association with the things shown in the new picture is impossible. In ridding them of their aspect of living actuality, the painter has severed the bridge and burnt the boats which might connect us with our customary world. He leaves us imprisoned in an abstruse world and forces us to confront objects impossible to treat humanly. We not only have to approach these paintings with a completely open mind; we have to create and invent almost unimaginable actions which might fit those exceptional objects".