PAINTING AND DRAWING CATALOG

Jordi Falgàs

 

Unless indicated otherwise, all the works reproduced in this publication are by Pep Colomer Martí. To catalogue it the conventional format has been followed, ordering the details of each work in the following order:

 

• Catalogue number

• Authors (only appear in the case of works that are not exclusively by Colomer)

• Title

• Date or approximate date

• Technique and support

• Measurements in cm. (height x width)

• Signature and dating of the author (if they appear on the work)

• Ownership or location of the work, and registry number

• Remarks

 

In the majority of cases, the information has been provided by the owners or trustees, or has been taken from already existing catalogues. In the remarks we have noted down where the work has previously been reproduced, except when it is the catalogue of the retrospective exhibition in the Museu d’Art de Girona in 1996, since in that publication all the paintings from the Colomer legacy that belong to the foundation appeared, currently deposited in the museum, and we thought it would be pointless to state it in each case. When there are no cataloguing data it means that they could not be obtained.

The complete works of Pep Colomer comprises at least one thousand works. These include painting and drawing, poster design, illustration, interior design and furniture design, and other very varied projects in nearly all the disciplines and techniques of the plastic and decorative arts. This collection will certainly grow in time. For this reason, the Fundació Colomer-Sanz believed it appropriate to create an interactive application and a web, which could be expanded with new findings and would also enable us to complete the cataloguing of the known works.

Regarding the cataloguing we must also make a prior clarification. Colomer’s work has now been compiled and photographed to the point that our investigation has allowed us, begun in 2011. Of the pictorial work we can provide an almost complete cataloguing, above all regarding the technique, measurements and location of the works, whether referring to those found in public or private collections. The other work (drawings, design projects, furniture) is still waiting, to a large extent, to be correctly catalogued.

One of the most serious problems for cataloguing Colomer’s legacy is the dating of the works, since he did not usually put a date on them. Moreover, his phenomenal skills for alternating styles and techniques complicate the sequencing of the works following strictly formal criteria. This makes the ordering and study difficult. Nevertheless, we have tried to produce a chronologically ordered cataloguing, aware that in many cases it may be erroneous, and we want to advise readers who study it to do so with the utmost prudence. For the same reason, when dividing up his professional career, we have opted for three main periods: the first, which deals with his youth and goes until the Civil War; the second, focused on the four decades of the dictatorship and the first years of democracy, and the last one, corresponding to the last fifteen years of his life. These periods are not equivalent in either duration or the amount of work produced (or conserved), but the evolution of his work was affected by specific events that have led us to group them in this way, just as explained in the introductory texts of each stage. During the investigation, we have also realised that the volume and relevance of his work as designer, in the broadest sense of the term, deserved specific treatment and study, independent of the pictorial work.

We want this app to not only help spread the work of Colomer, but also awaken the curiosity of art historians who will take over from us in the future and who can complete what we have missed and correct the errors we have undoubtedly made.