This is the first exhibition in the country dedicated to the American artist Eugene J. Martin (1938–2005). Martin belongs to the generation of African-American artists that emerged after the Second World War, but he was distinguished by his lack of political engagement and his creative independence.

After a difficult childhood, Martin enrolled at the Corcoran School of Art and Design in Washington, D.C., in 1960. Becoming an artist was a clear vocation, regardless of his material hardships. He visited museums regularly and developed a passion for Cézanne, Picasso, Kandinsky, Klee and Miró, all of whom had a decisive influence on his work. His early figurative pieces evolved into what he called “satirical abstraction”: biomorphic and anthropomorphic creatures appeared within skilful compositions, always imbued with humour. He often drew on the street or in cafés, selling his works to passers-by or with the support of generous patrons.

In 1963, upon graduating, he definitively abandoned academic figuration. The following years were devoted to reflection and experimentation, developing a singular style influenced by modern art. His work is organised into clearly defined series: Circle Drawings (1969–1971) and Oval Drawings (1971–1974), where free forms are constrained within geometric structures, evoking Kandinsky and Picasso. These were followed by Sculptural Drawings (1974–1975) and Mines Graphites (1976–1978), populated with dreamlike creatures in geometric universes, and the Bamboo Drawings (1981–1983), which are poetic and humorous.

It is important to note that these works were created under precarious conditions, using small formats and inexpensive materials. From 1988 onwards, with his own studio, Martin worked in acrylic on canvas and larger formats, producing “heterochronic” collages and moving towards pure abstraction in the 1990s, where figures disappeared and were replaced by brightly coloured geometric elements. Despite suffering a stroke in 2001, he continued to work, with a more essential and liberated gesture.

His career was solitary, removed from schools and movements. Despite the dominance of Pop Art and Minimalism in the United States, Martin never abandoned his artistic vision nor considered his work to be political. His trajectory sits firmly within the context of 20th century African-American art, from the Harlem Renaissance to the civil rights movement, which he experienced firsthand, attending Martin Luther King’s speech in 1963. His work combines freedom, humour, and a sense of joie de vivre, regardless of material conditions or notions of success.

Cultural influences and dialogues are clear: the work of Romare Bearden and Jacob Lawrence, as well as his fascination with Picasso, is evident in his exploration of collages, colour contrasts, and graphic compositions. Behind this stylistic diversity lies remarkable coherence, a constant spirit of inquiry, and technical mastery.

For the exhibition, the gallery has selected representative works from the 1970s, 1980s and 1990s: oval drawings (1971–1973), graphite pencil drawings (1977–1978), bamboo pen ink drawings (1982), and “heterochronic” collages (1993–1997). The variety of techniques — ink, pencil, gouache, watercolour and collage — demonstrates the artist’s gestural freedom and his talent as a colourist.

Martin’s work is held in prominent institutional collections across the United States, particularly in the South: Alexandria Museum of Art (Louisiana), Ogden Museum of Southern Art (New Orleans), Paul R. Jones Collection of African American Art (Newark, Delaware), Schomburg Center for Black Culture (New York), Stowitts Museum (California) and Walter O. Evans Collection of African American Art (Georgia), as well as in private collections in America and Europe. It is time for Eugene J. Martin’s work to be rediscovered by a wider audience, to appreciate the serene joy that each of his creations radiates.

We would like to thank the © Estate of Eugene J. Martin and Galerie Zlotowski for their collaboration in the organisation of this exhibition.