Page 50 - Studio International - April 1965

The Museo Abe116 Collection of a Catalan artist

by Sheldon Williams

Juan Abelló Prat, a Catalan painter with a string of has been to induce his fellow artists to paint his portrait,
awards and medals that speak highly for the standards and in this way he has amassed no less than 138 pic-
of Spanish jurors, has long cherished an ambition tures of himself. He is not, you may imagine, a retiring
beyond the ordinary dreams of an artist. Holding, as he man or one who is shy about his appearance. Cheer-
does, the same ardent nationalist views as his fellow fully, he tells you, pointing to a photograph of his by
Catalans, he has sought to build in his own native town now familiar features, that the photographer responsible
of Mollet del Valles outside Barcelona a museum of won first prize for the picture in Barcelona's annual
Catalan Art, with special emphasis upon the Catalan photography contest.
painters and sculptors of this century. His net has been thrown wide. Among the Abelló
The nucleus of this strange project began to form in portraits is one by Tàpies, painted while the artist was
his large studio in Mollet, but soon his purchases still recognisably figurative. The picture featured in a
started to spread until today they fill every nook and robbery when the Museo Abelló was rifled by art
cranny of his extensive residence. thieves. Abelló was heartbroken by its loss. But when
Apart from the expense, there was never any problem Tàpies heard what had taken place, he very generously
of temperament. Collecting comes easily to him. Too agreed to paint another portrait of his friend. In the inter-
easily almost. The studio itself is an aladdin's cave of vening years Tàpies' style had changed to become
treasures, many of an unlikely kind. Archeological frag- nearer to his present matière manner. The new portrait,
1 ments vie with old horn gramophones and musical even if it had the same subject, differed widely from
Tàpies
Portrait of Juan Abelló boxes. Guitars and other string instruments hang like its predecessor. When the original painting was re-
2 mobiles from the ceiling. A hand organ and an antique covered, Tàpies would not hear of Abelló returning the
Manolo Millares
Portrait of the violinist Francisco telephone are the only props. Skeletons of bats, birds, second portrait. So now he has two Tàpies versions,
Costa
Sculpture mammals and man complete the decor. both of them important pictures.
3 And over all broods the benign presence of Juan Catalans are proud of their land. Geographically, it
Manolo Millares
Head of a child Torero Abelló himself. Indeed, one of his collecting methods stretches from Perpignan in France to Tarragona in