América, 2013
Miguel Amate  

Painting : oil · 40 x 60 x 1.5 cm 15.7 x 23.6 x 0.6 inch · Ready to hang

€1,800 1 800 €
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Shipped from: Spain

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About the artwork

Type

Painting : Unique artwork

Condition

Artwork sold in perfect condition, not framed, ready to hang

Authenticity

Sold with certificate of Authenticity from the gallery

Invoice from the gallery

Signature

Hand-signed by artist

Technique & Support

oil on canvas

Dimensions ( cminch )

40 x 60 x 1.5 cm 15.7 x 23.6 x 0.6 inch Height x Width x Depth

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Vetted seller since 2022

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Description

Miguel Amate's , executed in oil on canvas, presents a stark, allegorical still life that operates at the intersection of political critique and symbolic realism. The composition is deceptively simple: a hammer—rendered with heavy, almost sculptural brushwork—rests diagonally across a stack of books. Yet the scene is charged with tension through both its iconography and painterly treatment.

Composition and Structure
The hammer dominates the pictorial field, angled from the upper left toward the lower right, creating a strong diagonal that conveys motion and impending impact. Its head is positioned at the edge of the upper book, as if it has just struck or is about to strike. Beneath it lies a stack of volumes, carefully aligned but visually destabilized by the hammer's weight and the suggestion of force. The lower book serves as a base, grounding the composition, while the upper book becomes the focal point of violence.

Materiality and Technique
Amate's use of oil paint emphasizes tactile contrasts. The hammer is depicted with thick, layered strokes, giving it a dense, metallic presence. Highlights in white and gray suggest reflected light, while darker tones define its mass. In contrast, the books are painted with looser, more translucent layers, allowing the underpainting to show through. This difference in handling reinforces the conceptual opposition between brute force (hammer) and intellectual or cultural foundations (books).

The background is a diffuse, abstract field of warm ochres, creams, and muted pastels, applied in soft, blended strokes. This atmospheric backdrop isolates the central objects, removing them from a specific time or place and elevating them into the realm of metaphor.

Color and Light
The palette is dominated by warm, earthy tones—yellows, browns, and soft reds—punctuated by the stark, almost jarring presence of a vivid red substance dripping from the point of contact between hammer and book. This red, suggestive of blood, introduces a visceral note of violence. It is the most saturated color in the composition, drawing the viewer's eye immediately and anchoring the emotional register of the work.

Light appears diffuse and non-directional, contributing to the sense of ambiguity. There is no clear source, which enhances the symbolic rather than naturalistic reading of the scene.

Iconography and Symbolism
The hammer is a loaded symbol, historically associated with labor, industry, and, in political contexts, revolutionary force. In , however, it functions less as a tool of construction and more as an instrument of destruction. Its placement suggests an act of suppression or attack directed at the books beneath it.

The books themselves are critical to the painting's meaning. Although the titles are not fully legible, one appears to reference philosophy, implying that these volumes stand in for knowledge, intellectual tradition, or democratic ideals such as freedom of thought and expression. The act of striking them—accompanied by the suggestion of bleeding—transforms the books into quasi-living entities, victims of violence.

This anthropomorphic treatment of inanimate objects is central to the work's allegorical force. The “bleeding" book evokes censorship, the erosion of intellectual freedom, or the destruction of cultural memory. In the context of the title , the painting can be read as a critique of sociopolitical conditions—perhaps addressing tensions around free speech, education, or ideological conflict.

Gesture and Mark-Making
Amate incorporates gestural lines and sketch-like marks around the objects, particularly near the edges of the books and in the background. These marks suggest movement or instability, as if the scene is caught in a moment of transition or impact. They also recall preparatory drawing, reinforcing the idea that this is not merely a depiction but an argument or proposition in visual form.

Context and Interpretation
While firmly rooted in the tradition of still life, departs from classical conventions by infusing the genre with overt political and emotional content. The work aligns with contemporary practices that use everyday objects as carriers of ideological critique. The title anchors the interpretation within a specific cultural and geopolitical framework, inviting viewers to consider the state of American society through the metaphor of violence against knowledge.

Conclusion
Miguel Amate's is a concise yet potent visual statement. Through a limited set of objects, the artist constructs a layered allegory about power, knowledge, and destruction. The interplay between painterly technique and symbolic content underscores the work's critical intent, positioning it within a broader discourse on the fragility of intellectual and cultural institutions in the face of force.

Political and historical

figurative

America

War

Politicians

Peace

Symbols

Yellow

Miguel Amate, América

Miguel Amate

Spain  • 1944

Presentation

Artist-painter and creator of dolls-sculptures.

He lived for more than thirty years in his workshop-gallery in the Marais of Paris, freeing himself from the site to wander as a nomad through the Parisian macadam in order to be closer to human reality and rediscover the unusual and profound side of it , as well as in Mallorca where he spends some seasons.

Of Catalan-Majorcan origin but born in Cartagena, Spain, in 1944. From a military family. He studied in religious schools, he began to paint at the age of seven in this city, the arid landscapes that surrounded him, the favorite places of play and creation of him.

He later studied art in the workshop of Don Vicente Ros and Alonso Luzzy. An education that gives him the foundations of classical painting and admiration for the great Spanish masters, such as Velázquez, Goya, and Greco. Parallel to his classical and violent works, he creates ensembles of diverse materials: wood, ropes, fabrics, rusty metals, random objects found in those lands burned by the sun where, once exorcised, they were adopted to form part of artistic ensembles with another function. .

In the sixties, described by his teachers as "tremendous" and "brutal", he abandoned them... he abandoned everything to tour Europe: in Sweden he worked on monumental sculpture in wrought iron for the Stockholm Cultural Center; in Germany and London he makes drawings and paintings with a strong psychedelic tendency; Finally, in 1969, he settled in Paris, founding a family that lived with him in the workshop.

At the beginning of the seventies, he continues his paintings, reliefs and doll-sculptures or sculptures-Grotesque and sexual paintings, in the silence of the basement of his workshop-gallery-home, where he turns this space into the first Artbrutal museum, being regularly visited by a good audience enthusiastic about this unusual work and in the heart of Paris. Giving this neighborhood a dynamic-creative thrust and reason for being.

The Artbrutal, born in this ghetto-swamp where time had stopped and the royal institutions sunk in the past emerged different and liberated, giving rise to this form of art, now it is… - Le Marais! Even without the Artbrutal by Miguel Amate that the swamp welcomed for several aesthetic dozens, words that Philippe Soupeau commented on in one of those casual encounters, in a Paris of encounters and ruptures.

The works, sculptures and dolls of Miguel Amate were exhibited mainly in:

2020 "The Dolls" Art Outsider in Paris. France.

2019 Night of L'Art. Felanix, Majorca. Spain

2017 Mi Ange Mi-Raymon. Raymond Blailock. Theater Laurette. Paris

2016 Click and the Night 03/03/2016 (UH) Mallorca. Spain

2011 Outsider birthday- chapelle Marmottan Mauriac. France

2011 Click the Night (UH) Mallorca. Spain.

2010 The ninth International Triennial of Self-Taught Art (INSITA). Slovak National Gallery, Bratislava, Slovakia.

2010 ChessMallorca Prize for plastic arts. Look, Petra. Majorca.

2010 Nuu Gallery. Inca, Majorca

2009 - Solleric. Juan Ramon Bonet. Portraits of artists. Palma de Mallorca. Spain

2007 Cinema Accattone. Avant-Première du Film “La dernière Comtesse"

2007 Cinema Accattone “L'Authentique chat d'Edith Piaf". Paris.

2007 Mostra d'Sculptures of St Maria. Majorca. Spain.

2006 "Art Brut L'instinct créateur" - by Laurent Danchin Et. Gallimard. Paris. France.

2005 International Lingerie Salon. Art Hall Galerie 27. Porte de Versailles. Paris.

2005 "Gays & Dolls" Royal Pavilion in Brighton, England.

2004 Museum of the Ardennes, Charleville Mézières. France.

2004 Poupes. Halle Saint-Pierre. Paris. France.

2004 Gallery d'Art Conseil Général des Bouches-du-Rhône, Aix.en-Provence.Les Pluriels des Singuliers"

2003 L'incroyable history du chat authentic d'Edith Piaf. "LE PARISIEN" Paris Le Marais.

2002 Landesmuseum. Art Communication. Zürich. Swiss.

2002 Palais du Congress. "40 Monuments pour la rue" St. Jean du Mont. France.

2002 Musée de l'Erotisme "5 ans du musée" Paris. France.

2002 Bochum Museum, Germany.

2002 "Un pavé dans le Marais" Galerie Art Brutal. Paris.

2001 Sineu City Council. Majorca.

2001 Théâtre 95 "Prado Zone" Cergy Pontoise, France.

2000 Galerie Art Brutal - Manifestation - Paris Le Marais.

1998 II Sculpture Show. Santa Maria. Majorca.

1998 Erotica 2. Musée de L'erotisme. Paris. France.

1997 Livre du coté de L'Art Brut - Michel Ragon. Ed: Albin Michel. Paris

1996 Retrospective exhibition at the Consell Insular de Mallorca, Palma de Mallorca. Spain

1990 Magazine Sol a Sol. Les Anges int I lost laws ombres. Paris.

1985 Textile expressions. Cultural Center d'Argenteuil. France.

1989 Majorca Casino. "Brutal Game"

1989 Le Marais Galand- Télérama- hour/series. Paris.

1983 Center Lincoln N.Y.C- U.S.A Performance film Birth.

1983 "Le baby Géant" by Tibor Déry. décor M. A. de la can by Georges Baal Ré- édition Française du center National de lettres. Paris.

1983 Figuration from 1960 to nous jours. Gerard Xuriguera. Paris.

1983 Salleus jours. Gerard Xuriguera. Paris.

1983 Hall of the Scie. Artistes-Main-Montparnasse. Paris.

1983 he opens a workshop in Mallorca where he continues his work without leaving Paris.

1981 Center Georges Pompidou, for the personal exhibition "Objets en Derive"

1978 to the Fabuloserie in the exhibition "Les Singuliers des Arts" ARC- Museum of Modern Art of the city of Paris;

1974 Atelier Jacob-Paris; for the play "Le secret de Zonga" by Martin Lamotte.

1968 Stockholm Cultural Center. Sweden.

1967 Cultural Center of Altea. Spain.

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