Pedro Gandía Literature. Was born on August 4, 1953, in Minglanilla, Cuenca, Spain, where he lived until he was nine years old. He studied secondary school in Cuenca, a city that marked him by awakening in him, with its Museum of Abstract Art, a taste for art, to which his friendship with Fernando Zóbel contributed. Also for Literature, pleasure that he discovered through his teacher, and also friend, Vicente Tusón. In 1972 he moved to Valencia and enrolled in the Superior Conservatory of Music and in the School of Arts and Crafts, disciplines that he later left for the studies of Philology. His literary education was marked by his stays in Paris and its museums between 1974 and 1976, as well as by his visits to Rome, Florence and London, where his pleasure in artistic creation was revived. He has been a painter (1982-1992), sculptor (1996-1999), professor of Literature, art dealer and director of the “Jade” collections, of narrative and poetry, of the Institute of Modernist Studies. Since 2016, he has re-taken the brushes to paint, on some of his old canvases, his series “Elegías”.
Pedro Gandía Literature. If poetry was painting for Simonides of Ceos, and poetry was a talking image, it is fascinating to study the painted images (mute verses) of the poet-painter. The case is not uncommon; all knowledge tends by synthesis towards its visualization, and there are many splendid examples throughout history: Salvador Rosa, Goethe, García Lorca, William Blake, Moreno Villa …
Being the image, by definition, a set of forms and figures endowed with unity and signification, Pedro Gandía composes the images of his abstraction harmonizing forms and figures that could be said belonging to the color itself: each color seems to have its own body, skin and movement, as something inseparable from their pigmented reality.
Pedro Gandía Literature. The colors weigh, glide, embrace or become almost weightless waving its profile, as a sendal, to the impulse of an even lighter pigment; they interpret a slow dance, a movement always related to the musical that remembers “stagings” of settecentists’ operas (perhaps Bibiena?); studies for a parsimonious and cyclopean choreography.
The poet directs here the splendid music of Pedro Gandía’s verses.
Este libro reúne los mejores versos de Gérard de Nerval. “Iniciado”, “Vestal” e “Hijo del Fuego”: Así gustaba llamarse el poeta más moderno y puro del Romanticismo francés, precursor del Simbolismo y el antecesor más profundo del Surrealismo ―Nerval se
HEL I XS is a collection of poems in Catalan, thirty short poems written between 1980 and 1995, with interpolations in French, Latin, Portuguese and Italian, which advocates a poetic language of diversity and miscegenation.
In the four allegorical texts that consist into this collection of poems in prose, dated between 1973 and 1976, recurring themes of the author's poetic universe are encoded, at the same time are configuring the keys to access that fictitious
El Spleen de París no tiene que ver con lo real. Las cosas de la tierra, según Baudelaire, solo existen en escasa medida, pues <>. De esta afirmación al Surrealismo no
All the curses of the poet come together in this collection of poems, written between 1977 and 1980, an orgiastic ritual that pursues confusion, the fundamental and total undifferentiation of the sexes and values, of the substance, of the chaos
Octave de Saville, incapaz de soportar la vida sin el amor de la condesa Prascovia, casada con el conde Labinski, decide utilizar como último recurso los servicios del doctor Cherbonneau, quien intercambia los cuerpos y las almas del amante y
Los dos momentos cruciales de mi vida ―escribiría Oscar Wilde en la cárcel de Reading― corresponden a los días en que mi padre me envió a Oxford y aquellos en que la sociedad de envió a prisión. Fue allí donde
It is about five long odes in Alexandrians, written between 1973 and 1974, where the poet reflects his dazzling by classical Greek art, which gives form to the gods; by Leonardo, the seduction of the enigma of the real; by
The works collected in this collection of poems, written between 1974 and 1976, constitute an extension of the poet's passion for the Hellenic world, with its myths and its cult of the beauty of form.
Cacería is a collection of poems, written in 1973, that reconciles the musician, the painter and the poet who coexist in the author, where the rhythm and the typographic distortion of the text determine the search for a plastic, visual