The distinction of Javier Sierra, in the Diario de Teruel

The cover of the Diario de Teruel of November 12, 2019, echoes the news of the recognition of the Turolense Javier Sierra as Honorary Member of the Spanish Association of Painters and Sculptors.

Inside, the news expands and we discover how everything related to the writer is reported in his hometown, the most prominent example of a “prophet in his land,” who recently also received the distinction of Teruel’s Favorite Son, which has a park near the neighborhood where he lived that now bears his name, and that houses the legacy of Javier Sierra in the Public Library of Teruel, which since September, was officially renamed the State Public Library in Teruel Javier Sierra.

As we can see, any news related to one of his most illustrious “children” interests and even more so when it comes to a distinction such as that of Honor Partner, going to swell the list of names among which kings appear, such as Alfonso XIII or the Queen María Cristina, to patrons like the Duke of Alba or the Marquis of Aledo, personalities from the world of culture as writers, composers, art critics and gallery owners such as José Francés or Antonio Cobos and artists such as Eugenio Hermoso, Benedito, Vázquez Díaz. ….


Summoned the 86th Fall Salon 2019

The visual image of the contest is the work of Javier Ortas

The Spanish Association of Painters and Sculptors announces the 86th edition of the Autumn Salon, which has the support of the Maxam Foundation

Until October 5 the works can be presented

The winning works will be announced on November 7

The finalist works will be exhibited at the Casa de Vacas del Retiro in Madrid from October 31 to November 24

The Spanish Association of Painters and Sculptors, with the unconditional support of the Maxam Foundation, announces the 86th Autumn Salon, the oldest and most prestigious artistic event in Spain, whose purpose is to stimulate creation and contribute especially to the promotion and the projection of artists in Spain.
The call has 7 free access prizes, the Down Madrid Painting Medal, reserved for artists of this group who will exhibit the winning work for the third time within the framework of the Exhibition and a total of eleven more Medals, reserved for the members of the centenary entity, whose attraction lies in the recognition of artists by other artists and in the prestigious awards, which bear the name of the founders of AEPE.
“Reaching the 86th edition of a renowned event such as the Salon de Otoño, says José Gabriel Astudillo, President of the Spanish Association of Painters and Sculptors, is a triumph in itself, since no other contest in Spain treasures that age, nor a list of names such as the one that the institution has gathered all these years, names that are already part of the history of art such as Picasso, Alberti, Benlliure, the Benedito brothers, Benjamín Palencia, Vázquez Díaz “…
The 1st Autumn Salon of the Spanish Association of Painters and Sculptors was born in 1920 and since its inception seeks the promotion of new values ​​in a line of innovative culture, that is, does not seek a display of awards that involve an economic endowment, but a excellence that transforms into the dissemination of the work and the artist, and that, according to José Gabriel Astudillo, means not endowing the awards economically, but being creative and channeling those selected and awarded on the difficult path of artistic creation.

Recognize talent is just what entities like Tritoma Cultural Management, the Getafe City Council, the Baluarte Hall of the City of Tres Cantos, Codina Escultura, Encuentro Real Estate, Santiago de Santiago and the Spanish Association of Watercolor Painters, which converge in this new edition of the Autumn Salon, next to the City Hall of Madrid, which will exhibit the selected and awarded works in the Casa de Vacas from the Parque del Retiro in Madrid from October 31 to November 24, and the Maxam Foundation, the official sponsor of the Hall.
The jury of the award, which will be made up of prestigious people in the fields of criticism, art history and artistic activity, will be chaired by the President of the Spanish Association of Painters and Sculptors, José Gabriel Astudillo, acting as Secretary of the same Maria Dolores Barreda Perez, Secretary General of the AEPE, will make a selection of the works presented, from which will come the winners, which will be exhibited in the Casa de Vacas of the Retiro Park in Madrid between October 31 and on November 24, 2019. The winners will be announced on November 7, at the moment of the jury’s decision, awards ceremony and opening of the exhibition.
Throughout these last 6 years, the Salon de Otoño has become a traditional event within the Spanish art scene, a must in terms of novelties, trends and new contemporary plastic proposals, as well as a showcase for the best painting and current sculpture.
Each year the artists have the opportunity to present their new creations and opt for an accredited Prize that includes the edition of a catalog, the exhibition of their pictorial work and the knowledge that it has been selected by a highly qualified and prestigious jury .
The Prize can present Spanish artists or residents in Spain, in the modalities of painting, sculpture, drawing, engraving and watercolor in formats designed to enable the participation of all creators, from 46 cms to the maximum size of 200.
The bases and the registration form can now be downloaded from the AEPE website, tab “Contests and Awards”, sub-tab “Bases”, and in the same tab, sub-tab “Salón de Otoño”.

Presented the book “Salon Vilches” in the AEPE

On Friday March 23 took place at the headquarters of the Spanish Association of Painters and Sculptors, the presentation of the book entitled “Salon Vilches. Art galleries with history “, by the author Susana Vilches Crespo, which includes an arduous investigation about the author’s grandfather, Manuel Vilches Ramón (Córdoba, 1870 – Madrid, 1940), founder of the Salón Vilches, also known as Sala or Casa Vilches.

The event was attended by José Gabriel Astudillo López, President of the Spanish Association of Painters and Sculptors, who, in an introductory manner, highlighted the work that people like Vilches carried out in the late 19th and early 20th centuries in favor of Spanish art.

He also mentioned the great exhibitions that some of the partners of the entity, took place in the Salon Vilches, as was the brothers Zubiaurre, Eugenio Hermoso, Gonzalo Bilbao, Benedito, Argelés, Plá, Barbasán, Beruete, Bilbao, Domingo, Sorolla, Lupiañez, Mir, Regoyos and many of the founding partners of the centenary entity, linked this way and in this way to our institution.

But in addition, in 1952 the Association of Painters and Sculptors organized an exhibition of still lifes in the Salon Vilches, generously provided for this purpose, with works by Fausto A. Moya, Renata Obijou, Mercedes Pérez Ahumada, Ladislao Tinao, Rafael de Infantes, Manaut , Enrique Segura …

José Gabriel Astudillo, made a prologue in which he analyzed the art galleries and their importance that we reproduce here:

“Art galleries have very particular characteristics, they are often immaterial, a volatile but always material, changing and phoenix-like entity. They possess a moral entity, which denotes in a society a cultural maturity and a taste for the conservation and promotion of that heritage that elevates it to a higher instance of advanced society, capable of valuing and treasuring what its artists do.

One of the primordial functions of art galleries is that of the socialization of art. We could say that it is a bridge institution since it leads to other institutions that are much more consolidated, such as museums and collections of natural or legal persons. Another of its functions would be to revalue and put into circulation the works of art in a society.

In reality, the gallerist does what he does is translate a work of art into money while at the same time it is a quality filter of the work of art. That is to say that this translation is nothing more than an introduction of art in terms that society understands, an insertion in the economic and political-moral circulatory torrent of a society.

The galleries are commercial premises open to the public where you are not forced to buy, it is not a utilitarian trade, but is used by the community as a place of leisure and knowledge. In this sense, “the world of culture and art is a vast public good, a good that is bypassed by zones of total commerce and yet remains gloriously immune to a general commodification.

In addition to this essential purpose, to produce some benefits of intellectual or spiritual order, the artistic object has acquired a patrimonial value or of change that grants the social consensus based on the collective acceptance of its aesthetic and original content. The value of the work of art that leads to its acquisition, consists of three types of value: artistic value, use value, which in turn is characterized as value of enjoyment, production and exposure and the third value, of exchange.

“The creation of the salons …, where from the second half of the XVIII, periodically they were exposed to the public contemplation of the works of art, it was a clear antecedent of the current commercial galleries and supposed for the artist to have to face with a hitherto unusual situation of anonymous consumption, those clients without a face of the market, the freedom conquered against the a priori commission … propitiated the picturesqueness, sometimes tragic of the bohemian … “1. With the salons and the spirit of opening of artists appeared art exhibitions, first collective and later “the era of particular exhibitions was inaugurated, which became more and more frequent in the course of the XIX century … In truth, the interest of the artist to expose isolated sets of his production and the desire of the public to know such works, impelled the creation, apart from the official organizations, of the particular exhibition galleries and the new industry of the marchand … ”

Many galleries were created from shops related to the art world.

Exactly: houses of frames and mirrors, stamping shops, establishments selling products for the artist, antique dealers … When the old forms of patronage and the commission go into decline, the artist possesses the imperative need of public visuality. Then in a spontaneous way, from the method of trial and error, this type of establishments will exhibit works of art and with time they will begin to organize exhibitions.

There is a bibliographic gap on the art market and the world of galleries, motivated, among other reasons, by the great difficulty of the researcher to access primary sources. That is, to the archives of the galleries. The chrematistic dimension of the art market has motivated opacity and secrecy. And yet, every time we become aware that contemporary art is an ecosystem and that all agents, artists, critics, collectors, galleries, institutions, are interrelated and that one can not think without taking into account the other.

Contemporary art is a cultural process of interrelations and hence the growing interest in galleries and the need to study them. In the end it is about obtaining reading guidelines for the understanding of contemporary art.

That is what the book by Susana Vilches presents us, a must read to understand the current art, studying the past art that in such a masterful way, starred in the Salon Vilches.

For her part, Susana Vilches recalled the biography of the Vilches Salon founder, Manuel Vilches Ramón, who, at twenty years old, arrives in Madrid to try his fortune and is used there in the old café Fornos, where he begins to make contact with the Literary and artistic world of the capital. His boldness and unwavering confidence bear fruit in the opening of a first store in Calle del Principe 19 and 21, an establishment dedicated to the sale of artistic moldings, caricatures and miniatures, which would soon have a small space dedicated to exhibitions, since already in 1895 begins the direct deal with the artists.

Numerous are the exhibitions that are organized in the Salon Vilches during the first years of the 20th century, which will give prestige and fame to the House throughout its existence. It should be noted the passage through the establishment of such important figures in the history of Spanish art as Pradilla, Unceta, Pichot, Lam, Regoyos, Rosales, Pinazo, Rusiñol, Moreno Carbonero, Gutierrez Solana and many others.

In the twenties, the business expands its sights and moves to the Gran Vía 22 street (former Conde de Peñalver street and then José Antonio avenue) where it will remain until approximately 1955.

On the death of Manuel Vilches, in 1940, the Exhibition Hall passes into the hands of his children, although it will be José Luis, the oldest of them, present in his father’s business since his childhood, who will manage the room until the Fifties inaugurated a new room on Calle Serrano 50, while his brother Alfonso began his journey on Gran Vía 84 a few years later.