![\"\"\/](\"https:\/\/museuart.com\/wp-content\/uploads\/2022\/03\/postectura-grup.jpg\")
<\/p>\n\nThe years of Francoism were, in many ways, dark and difficult years. Also in the field of the arts. The main artistic institutions of the country were directly controlled by the Franco regime and, consequently, very specific plastic options were defended, in accordance with the political interests of the dictator, who defended a return to the national historical past. Thus, the main museums of the country defended above all the work of authors linked to classicism or academicism, in the same way as did most galleries and, of course, the main educational centers. The Escola Llotja in Barcelona, \u200b\u200bwhere most members of the Postectura group met, was no exception. It is not surprising, therefore, that the new generation of artists fully trained during the post-war years wanted to break with the new established order and find new ways of expression, a language that was their own. <\/p>\n\n
Thus, throughout the forties and well into the fifties, numerous groups formed by young painters with a desire for change appeared. Some group initiatives were generic and global in nature. The Cercle Maillol, supported by the French Institute, or the Salons d’Octubre, made possible thanks to the patronage of the Imbert couple, are good examples. Both companies aimed to give young artists what the state did not give them: breadth of vision and knowledge of avant-garde art -thanks to the scholarships of the French Institute- and a platform -the salons- where to make themselves known. But beyond these initiatives, small groups appeared that, each in their own way and with a greater or lesser degree of influence, were paving the way and bringing new light in some very dark cultural years. The best known is possibly the Dau al Set group, but the list is long: Betepocs, Els Blaus, Els Vuit, Flamma, the Ta\u00fcll group… This is how small actions – even if they are sometimes ephemeral and may seem naive – became relevant and unavoidable milestones for understanding the process of opening that the arts of our country experienced during the decades following the civil war. <\/p>\n\n
The founding of the Postectura group is one of them. This exhibition aims to highlight the work of the group and its members. Created in 1950 and formed by the painters Joaquim Datsira, Esther Boix and Ricard Creus and the sculptors Subirachs, Torres Mons\u00f3 and Mart\u00ed Sab\u00e9, it is one of the relevant initiatives of this period. All of its members worked hard to renew the country’s plastic arts and developed, each in their own field and in their own territory, relevant artistic careers. That is why we have called the exhibition “Postectura: the construction of tomorrow”. Postectura, like the rest of the post-war groups, did not work for individual interests but with collective aspirations. They worked to create a new, freer and more modern artistic environment, they worked for tomorrow. <\/p>\n\n
All its members worked hard to renew the country’s plastic arts and developed, each in their own field and territory, relevant artistic careers. That is why we have called the exhibition “Postectura: the construction of tomorrow”. Postectura, like the rest of the post-war groups, did not work for individual interests but with collective aspirations. They worked to create a new, freer and more modern artistic environment, they worked for tomorrow. <\/p>\n\n
<\/p>\n\n
The Postectura group gathered in the Jard\u00ed dels Tarongers, in Pedralbes, where Mart\u00ed Sab\u00e9 had his studio. From left to right: Josep M. Subirachs, Francesc Torres Mons\u00f3, Ricard Creus, Joaquim Datsira, Jordi Mart\u00ed Mass\u00f3, Josep Mart\u00ed Sab\u00e9 and Esther Boix. c. 1950. Private archive<\/p>\n\n
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