(1942 / 2010)
Born in Barcelona in 1.942
Massana Sumptuary Arts Conservatoire, Barcelona
Conservatori de les Arts del LLibre, Barcelona
Viaggio di studi in Italia e Grecia
Barcelona (Ateneu Barcelonès, Sala Jaimes, Galeria Syra, Sala Madei, Sala Dalmau, Sala Parés)
Palma de Mallorca
Castelló de la Plana
and other towns of Catalonia.
Museums and public collections:
The Olympic Museum ( International Olympic Committee - IOC) - Lausanne, Switzerland
Garrotxa Museum - Olot, Girona
Porreres Museum, Mallorca
Balaguer Museum - Vilanova i la Geltrú, Barcelona
Girona Art Museum
The Ex-libris Museum of Xylon Argentina, Buenos Aires
"la Caixa" Testimony Collection - Barcelona
Bank of Sabadell Collection
Junta del Port de Barcelona Collection
Diputació Provincial de Barcelona Collection
Jordi Benet wrote:
Jaume Carbonell is, in certain plastic aspects, one of those present heirs, less rhetoric, of the perennial Mediterranean culture, which in Catalan lands, has never stopped to sprout and update, because it constitutes a substratum that agglutinate expressions forms, that emerge to the surface with formulations often quite diverse. In the case of this painter there is, by feeling and training, deep roots, that tend to show in human figures and in the landscape elements of permanence that we could qualify of humanistic. That does not mean that we are before a work of a content more o less neoclassic, but it does mean we are before a total realization and unstoppable antinaturalistic, in which surreptitious mythological background essences pierce. Timeless experiences that escape from every individualistic representation and get nearer to generic and categorical transpositions. All this keeping in mind the assimilation in the unwhiskable contributions of our century, with fauvism and cubism in the firsts places, which contribute together with intuition and speculation, emerged from the painter, to make significant and valid this singular vision.
In his woman figures as in his landscapes, the most strict volumetry, within the freedom of moulding and the use of an exalted and metaphoric chromatism are parameters that transmit, in his work, a configuration or turgidity and toughness. And, at the same time, we remark the interpenetration with the vital reality of the land and with the interpretation almost mythical but always keeping the vitalism of a woman's body; these are features that get this work near, in a independent of some masters of modern Catalan art like Joaquim Sunyer and Manolo Hugué, that were in their moments (1910-1913) part of that famous "École de Céret" so fundamental to the development of the tendencies, perhaps the most prestigious, of the contemporary artistic creativity.
Jaume Carbonell is a young value but full of spiritual maturity, he has already reached, within his line full of notables resonances, plausible and revealing results of the certainty of his unquestionable authenticity.
Historian and art critic
Copyright © 2000