Lucio Munoz (1929, Madrid, Spain – 1998, Madrid) entered the Royal Academy of Fine Arts of San Fernando, Cadiz, Spain, in 1949, where he was a student of Eduardo Chicharro. He worked with several materials, like burnt paper, wood and canvas but he became particularly well known, between 1958 and 1959, when he explored wood’s expressive potential. Likewise, the innovation he incorporated into his works, such as the use of burns, carvings and painting mixed with materials like marble dust, sawdust and pulverized minerals, works that he called “pseudo-paintings”. Throughout the years, he received several awards such as the Fine Arts Gold Medal, Madrid (1993) and the Prize of the Asociación Española de Criticos de Arte (1996). He participated in various art fairs such as FIAC, France (1988, 1982); ARCO, Spain (2018-2006, 2005-1992, 1987); ESTAMPA (2011, 2010); Art Cologne, Germany (1991); Art – International Kunstmesse Basel, Switzerland (1979, 1976, 1974, 1970). He was part of various biennials: São Paulo Biennial, Brazil (1959); Venice Biennale, Italy (1976, 1960); Ljubliana International Biennial, Slovenia (1987) and DOCUMENTA, Kassel, Germany (1972). He had solo exhibitions at the Museo de Art Contemporáneo Colección Unión Fenosa, La Coruña, Spain (1997); Guggenheim Bilbao, Spain (1989); Calouste Gulbenkian Foundation, Lisbon, Portugal (1989); Museu Centro de Arte Reina Sofia, Madrid (1988); Museo Extremeño de Arte Contemporáneo, Caceres, Spain (1981) and Museu de Bellas Artes, Bilbao (1965), among others. His work is represented in many international contemporary art museums and institutions, such as the Bergeau Museum, Dortmund, Germany; British Museum, London, United Kingdom; Centro de Arte Reina Sofia, Madrid; National Gallery, Sofia, Bulgaria; Göteborgs Konstmuseum, Sweden; Haags Gemeentemuseum, Haye, Holland; Kunstmuseum, Winterthur, Germany; Vatican Museum, Rome, Italy; Nasjonalgalleriet, Oslo, Norway; New Orleans Museum of Art, USA; Stedelijt Museum, Amsterdam, Holland; Tate Gallery, London, among many others.
PS, November 2020
