Francisco Gutierrez Cossio ( Pinar del Rio , Cuba , October 20, 1898 - Alicante , January 16, 1970), also known as Pancho Cossio , contemporary Spanish painter.
Her parents also Spanish, Genaro Gutierrez, storekeeper of snuff, which was ahead of the law abolishing slavery in his estate, and Casimira Cossio. Pancho shortly after birth, the family returned to the Peninsula, Renedo Cabuérniga ( Cantabria ), where it originates. They remain there until 1909, when he moved to the capital is Santander . The child has an accident in a leg, which reduces future as long respites, determine, among other reasons, her love of painting. At 13, he took drawing lessons Francisco Rivero . In 1914, determined to be a painter, he moved to Madrid , on the recommendation of the attorney Gregorio Campuzano, he entered the workshop of Cecilio Pla . It will remain until 1918, and will always remember with gratitude the teachings of the old painter. Study taken in 1919 in Madrid, in the Rue St. Ferdinand, and the following year he was allowed to elapse in Santander. During the 1921-1922 biennium are losing interest in academic painting, though he knew that in Spain it will be difficult to succeed with any other. Thus, in 1923 goes to Paris with the sculptor, also pleasant, Daniel Alegre . The same year sent a nude at Independents Hall . The work goes unnoticed, but then sell Cossío achieved for 300 francs. In 1924 participates in the Salon d'Automne with another naked, and this time attracted the attention of critics.
In 1925 he joined the group of young Spanish artists based in Paris ( Francisco Bores , Vines, de la Serna) and being born first, and personal style. Since its founding in 1926, "Cahiers d'Art", group, and especially Cossio, will support the most prestigious of the moment. After making two exposures (1928 and 1929) signed an exclusive contract with the Galerie de France , an organization that failed in 1931. In 1932, he returned to Spain, first with vague plans to move to America, then what makes, to intervene in state politics. He joins the JONS of Ramiro Ledesma Ramos and founded the delegation of Santander. His activism was always steadfast: After the Unification Decree remained Hedilla side, accusing the "Movimento" traitors to the cause of National-. Hence, between 1933 and 1940 the artist's pictorial activity is very low. Exhibited in Madrid in 1944, gets a signal success, and after working in silence until 1948, begins his series of superb exhibitions in Barcelona, Madrid and Santander. Specifically, 1950 at the Museum of Modern Art in Madrid means the consecration of Cossío. It is useless to continue adding more displays news, besides getting the Medal of Honor at the National Exhibition of Fine Arts in 1962 and the special chamber that it was invited in the same event in 1966. In recent years, Cossío spent most of his time in Ibiza and the Albufereta, Alicante.
So much for the biographical accident de Cossio, may seem excessively detailed for those not successful to warn the portentous lines capacity to renounce, break and start again the great artist. The pictures of his very first time, seen in Santander (at his family home and the Ateneo), compositions based on brightly colored, very personal concept, they could be full for any other painter. Cossio give it up and replaced by the very interesting painting Paris stage, difficult to define, and not talking about a post-cubist curvilinear, with no debit to Picasso , with more than one on Braque . In 1932, this beautiful work of seas, sailing, storms, drinks, fruits and bowler hats, and glory was secured with one condition: that the Cossío had continued in Paris. Well, strip the glory out the window and return to Spain. All this does not serve anything. It has to start again. And start, for example, with this incredible portrait of his mother, 1942, as optimal as if signed by Rembrandt, or the porcelain Still Life , 1945, with a luxury qualities and almost unbelievable in our era. Both tables begin to be guided by the predilections generic Cossio, who are, besides the two large religious compositions in the church of the Carmelites of the Plaza of Spain, Madrid, portraits, marine and still life. Or, more precisely: portraits as appearances, marinas usually attached to a sense of disaster, and nature living or dead, even integrated with just a glass and a fig, and the better the larger the number of items meeting, gave a general glimpse of geometry dominated mysterious succulence, flavor cold, icy, distinguished. Or both will, instead of those usual fruit has French cards, or any trifle, for the trifling amount immediately pictorial nobility. Even Cossío each firm is in its rigorous management, a tiny living nature.
Indeed, the principles just enunciated are common to all the stage work of Spanish de Cossio and not break with the progressive synthesis and short for the last few years, in which everything becomes more ghastly with sparkling whites. With what we just got to color and color the considerable responsibility in the enjoyment of painting Cossio. First, go ahead the realization that he never painted with colors prepared industrially, but that was ground and cooked their land with the same honesty from a teacher early seventeenth century. Land, usually where the dominant colors are white, gray, ocher, with a whole infinite number of variations. Finally, comes into play not definable Cossío witchcraft, to provide surfaces for a luxurious brilliance of a very old prestige of conditions so sumptuous and flattering to the view that each of his paintings, for that is freshly painted, museum displays and desires, sescentista masterpiece entitled to place in the Prado or the Louvre.Thus, the general description of Cossio (so unusual, so out of which all the series that he plays) will be so complicated that the following: the great nineteenth-century Spanish painter who, starting from post-cubist and having come up to two millimeters non-figuration, has most deeply held traditional painting known to the twentieth century.