HOME > ARCHIVE > TIMELINE. 1946

• Ends Military Service.

• 2ª Exhibition in the Cultural Association of Barcelona ( Ateneo Barcelonés ) 1946.

Catalogue of the 2ª Exhibition in the Ateneo Barcelonés. 1946. ( exterior )

Catalogue of the 2ª Exhibition in the Ateneo Barcelonés. 1946. ( interior )

Review Second Exhibition in the Ateneo Barcelonés, 1946
Newspaper:Â Solidaridad Nacional (National Solidarity)
Date:Â Â December 6th, 1946.
Page no. 5
Column: ARTISTIC LIFE
Title: JAUME GUBIANAS IN THE “ATENEO BARCELONÉS”.

JAUME GUBIANAS IN THE “ATENEO BARCELONÉS”.
From tomorrow, the painter Jaime Gubianas is showing in the gallery of the Ateneo Barcelonés a collection of drawings depicting the landscapes from the nice region of Ampurdí¡n.
Given the value of the artist, we hope the exhibition is going to be very successful.

Review Second Exhibition in the Ateneo Barcelonés, 1946
Radio Station: Radio España de Barcelona
Date:Â Â December 12th, 1946
Time: 1 pm
Space: WEEKLY ART REVIEW
Title:Â JAUME GUBIANAS AND HIS DRAWINISTIC MINIATURES
Author:Â Â Juan Francisco Bosch.

RADIO ESPAí‘A DE BARCELONA
WEEKLY ART REVIEW
JAUME GUBIANAS AND HIS DRAWINISTIC MINIATURES
In the Ateneo Barcelonés, Jaume Gubianas’ miniaturized drawings –in sanguine and lead- make you feel as if you were inside the Ampurdí¡n landscape and strolling while enjoying its indescribable attractiveness.
It is virtuous the way its author manages to give environmental vastness to his tiny versions of the Ampurdí¡n countryside –“Paisaje” (Landscape), “Panoramica” (Outlook), “Camino de la Fuente” (Fountain Path) and “Vista de Polinya” (Polinya View). In the same way, he depicts wonderful versions of the city life in Figueras, such as “Casas” (Houses) and “Suburbio” (Suburbs); “Callejón” (Alley) and “Caserí­os” (Farmhouses) from Castellfollit, “Los Arcos” (Arches) and “Calle Vieja” (Old Street), from La Junquera.
Gubianas was right with the choice of the different themes that he depicts neatly interpreted. Nonetheless, he should put into practice the different possibilities, so as to expand the area where those themes may cope with more liberty of movement when he is trying to capture what he perceives from reality on a piece of paper.
The landscape width itself reclaims a stretch of land, even larger than Gubianas would have had spared.
JUAN FRANCISCO BOSCH

Review Second Exhibition in the Ateneo Barcelonés, 1946
Newspaper: Solidaridad Nacional (National Solidarity)
Date:Â December 20th, 1946
Page no. 1
Title: A MYSTICAL SENTIMENT OF LANDSCAPE
Author: JOSE Mª. SANTA-MARINA.

A MYSTICAL SENTIMENT OF LANDSCAPE
Palomino defines drawing as the soul of painting, a reason with no solution. Drawing is mending the shape, the structure and the environment of reality. Then, it is not long until we copy all the links tangled in a picture. Although colour is not present in his work, there is a musicality that seduces and captivates, but does not convince.
Considering that drawing is the soul of a work of art, how could we assimilate the existence of so many pictures without it? Should the painter’s noble art contain something, still giving off some arrogance that the devil might bribe, purchase and dirty with obscenity, they would be the draftsman’s materialized lines. The soul of a picture, either poetry or evocation, that emerges from the fine concord of proportions between elements and distances, from a subtle stroke and other flattery, has been transformed within these days of sin by “the grace”. Nor perfection, nor consequence of every attempt, nor place of scene count. What is vital is “the grace”. Not “the grace” advocated by Saint Augustine (whom the mortals owe substantial goods), but the one referred as to the riddle bred in disgusting environments.
Laugh you at his own condition, in the same way as at the curves drawn by the stumble of a drunkard, at the doodles drawn in the air by the smoke, at the decadence of an awful creature. Lined eyes with a crude pencil, poor of worthy intention, they ought to soothe the blindness before perceiving the poetry of the light and the shapes that depict the countryside in the same sheet of paper of every day.
Youth encourages hope. The graphic job of Jaume Gubianas, received in the Ateneo Barcelonés, denotes a fervent and poetic sentiment, a sincere feeling which is taken directly from nature after a kind abstraction. All these pictures are tiny in dimension; in contrast to the spacious sphere and the emotional waves that they transmit and which are conceived by the same sensitivity, although created by different means. Some of them are lined in lead, authentic dry points, where the shabby is excluded. They are open as if it was a depiction in chisel on a metal sheet, with which the painter achieves the vibration of light and enhances the structures. The melancholy of these drawings suits the shapes of every depiction, and each and every one of these could be a descendant of the grey and cold graphite that maintains the vibration in half-darkness. The details of a fortress and the roof of a farmhouse at ground level are lined with an admirable move. The art of this painter will make other experienced painters think, given that he achieves a wider degradation of warm and substantial half-measures, which are virtuously specified so as to transmit an environmental feeling, fresh and intense. The reddish of the sanguine gets the collection together, providing a youthful and caustic touch, since, as far as I know, the greyish is lacking in this intensity.
And with not much attention to this, the precise finesse of his lines, delicate as a beam of light, has make him achieve certain wonders; because, nonetheless, I believe in the merit of his mastery that reminds us of the little Dutch masters. When time passes by, and the turbulences of life overcome his wish, let the perfection acquired by Gubianas in this first stage become a memory in his professional career.
Jose Mª. Santa Marina

.