When the intellectual universe of a work of art prevails over the authenticity of its physical structure

Abstract

Las pinturas geométricas del artista español José María Yturralde, se caracterizan por un lenguaje plástico aséptico. Son obras de arte que ponen de manifiesto una especial importancia en la superficie. Prisma 4 de 1972 pertenece a la serie Figuras Imposibles, y responde a una investigación neoconstructiva experimental iniciada a finales de los 60. La obra, presentaba serios daños en la superficie pictórica debido a la técnica que empleaba el artista hasta 1973. En este trabajo presentamos los estudios previos realizados a la obra, la opinión del artista extraída de una entrevista personal, y el proceso de intervención llevado a cabo, especialmente significativo dadas las discrepancias establecidas entre el estado de conservación de la superficie y el concepto o idea de la obra.

The geometric paintings of Spanish artist, José María Yturralde, are characterised by an aseptic plastic language. His works of art place special importance on the surface of the work. Prism 4 (Prisma 4), of 1972, belongs to the Impossible Figures series and corresponds to an experimental neoconstructive study which began in the late 1960's. The pictorial surface of this work was seriously damaged due to the technique used by the artist until 1973. This study presents previous studies performed on the work, the artist's opinion taken from a personal interview, and the intervention process performed which is particularly significant given the discrepancies established between the state of conservation of the surface and the concept or idea of the work.