Heroes of Humanism: 1. Ramiro Tapia, a Hermetic Painter
This post inaugurates the announced section “Heroes of Humanism,” which focuses on outstanding individuals—whether famous or anonymous—who have made significant contributions across the broad spectrum of arts, sciences, and humanities. It also highlights their deeds and heroic acts in defense of human dignity and the advancement of knowledge. Our intention is not to compile a biographical data sheet, but rather to celebrate those facts we consider valuable and useful in the pursuit of human evolution, always bearing in mind that a human being is not merely an “idea” or a “concept,” and therefore possesses flaws, weaknesses, and contradictions.
We are well aware of this, but life is often harsh and difficult. Precisely because of this (and not despite it), the exploits of those we consider “heroes” are all the more laudable and magnificent as examples for new generations—young people eager to find role models. Surely, it is no news to anyone that a good example embodied in a flesh-and-blood “hero” is more powerful than the cleverest speech in the world, especially when it comes to educating and demonstrating how we must strive to be better people: stronger, more passionate and compassionate, knowledgeable, and willing to defend others against the injustices committed by selfish, malevolent, and ignorant individuals who inhabit this world.
We have chosen Ramiro Tapia as our first “Hero of Humanism,” a great Spanish painter born in Santander in 1931. The reason for this choice lies in his extraordinary artistic career, developed over decades of hard work, vocation, and dedication, culminating in refined technical skill and the astonishing gift of being able to reflect the inner landscapes of our souls, as well as the illusions, hopes, and magical brightness of childhood. Ramiro’s artwork combines disturbing, disruptive, and solid shapes, lines, and symmetries that leave us breathless and eager to delve deeper into his marvelous and unique “reality.”
It was during his childhood that Ramiro had the opportunity to absorb the masterpieces of illustrators and artists such as Arthur Rackham, Gustave Doré, Aubrey Beardsley, and Paul Klee. His mother and grandmother, Gloria de Aymerich—both strong, intelligent, and remarkably educated women—introduced him to fantastic, magical, and “hermetic” worlds… worlds that never left him throughout his fruitful life.
Ramiro’s artwork has evolved through many stages, from the 1950s to the present day. His initial phase, “Magical Realism” (1952–1959), included his collaboration with the prestigious gallery “Gastón y Daniela,” managed by Willy Wakonigg, where he shared space with renowned artists such as Canogar, Feito, Arcadio Blasco, César Manrique, Millares, Paredes Jardiel, and Amadeo Gabino. During this period, Ramiro was appointed Artistic Director of the Ceplástica corporation and undertook diverse and talented projects, such as the mural “La Ría” (1957) for the Hall of the Cine Capitol in Bilbao. He also led several stands, including “Ceplástica-Ariz,” “La Maquinista Terrestre y Marítima de Barcelona,” and “Echevarría, S.A.,” which represented a technological achievement given the challenges of displaying chromatic steel cylinders over an unusually illuminated oriental garden. He also traveled through Italy, gaining inspiration in many ways.
His second phase, the “Abstract Period” (1961–1964), focused on refining his technical skills in isolation at a countryside manor in Salamanca owned by his family. In 1963, he was appointed Artistic Director of “RED de Publicidad Exterior” and “PANORAMA.” The third phase, “Fabulismo” (1964–1969), contrasted with the previous one and was a fertile period during which Ramiro co-founded “El Movimiento Flor” with Carmen Santonja, Adolfo Arrieta, Juan Ignacio Cárdenas, Luis de Horna, and German painter Ursula Schaeffler—an attempt to break with the prevailing monochrome and formalism in Spain and introduce a kind of Neo-Fauvism. He continued his work as an artistic advisor in Madrid for CYGLA, Kibury, and ANCEMA. His international presence was confirmed in 1966 when he was selected by the Vincent Price Collection in Chicago, and the Sears Roebuck Foundation acquired several of his paintings. He also created three works for Amato Lanza’s collection in New York. During this time, he held his first solo exhibition at the Marco Polo gallery (Madrid, 1967) and won the silver medal at the V Salón de Pintura (Alicante).
The next phase, “Believer Machines” (1969–1972), explored one of Ramiro’s obsessions: the anthropomorphic representation of machines as rulers of mankind. He exhibited in Bilbao (Illescas gallery, 1970), Vigo, and Madrid (Fauna’s, 1972). During this stage, machines took on more fluid forms, disintegrating into torsos and self-transforming structures, resulting in ambivalent and random joints he called “Metamorphosis.” This led to a new phase (1972–1976), with exhibitions in Madrid (Mecenas gallery), Marbella (ZZ Val-I-30), and Salamanca (Varrón). It was during this period that Ramiro developed a new fascination with symmetry, sometimes executed obsessively, and created his famous compositions of vegetation and fantastical architecture.
This tendency evolved into one of his most celebrated phases: “Impossible Architectures and Fantastical Botanics” (1976–1986). He exhibited in Madrid (Iolas–Velasco), Bilbao (Lúzaro), and Salamanca (Varrón). He opened galleries in Barcelona (Roc Guinart, with Fefa Seiquer) and Pedraza (Segovia, Edurne gallery). In Madrid, he participated in Panorama 78 (Museo de Arte Contemporáneo). In 1979, he held a major monographic exhibition (1974–1979) at the Biblioteca Nacional. By 1980, his work was recognized both in Spain and abroad, and he began promoting his art in Hispanic America (sponsored by Theo gallery, managed by Elvira González and Fernando Mignoni). In 1984, he married Dr. Amparo Núñez López, daughter of sculptor José Luis Núñez Solé, who has been a great supporter and source of inspiration. In 1985, he held a new anthological exhibition (30 Years of Painting, 1954–1984) in Salamanca (Museo Provincial and Casa Lis), with a foreword by writer Antonio Gala. That same year, he won the first prize and bicentennial medal from the Escuela de Nobles y Bellas Artes de San Eloy.
A new phase emerged: “Hecatombe” (1986–1994), featuring Dantesque mutant beings and horrifying creatures as a prelude to fire and apocalyptic destruction. This included the series “Ogres and Giants” (1987, Evelio Gayubo gallery, Valladolid) and participation in the Third International Fair of Contemporary Art Olimpia (London). In 1992, he introduced his “Galactic, Cosmic and Defensive Towers” and the “Babelic Trees,” which housed citadels within their foliage. This led to the “Galactic Towers” phase (1994–2000), one of his most expressive and renowned periods. His works traveled to Washington D.C. and Würzburg (Germany), and he exhibited at Arco (Madrid, 1997). In 1998, a retrospective of drawings from 1955 to 1995 toured several Spanish cities.
His current phase, “Interior Labyrinths” (2000–2010), explores symbols derived from unconscious stimuli and dreamlike visions. Ramiro has attempted to recreate constellations of mandalas representing astrological frameworks (exhibited at Margarita Summers gallery, formerly Juana Mordó’s). Other exhibitions took place in Zaragoza (Luzán), Salamanca (Artis gallery; Contemporary Art Fair of Castilla y León), Arco 02 (Madrid), Europ’Art (Geneva), and a retrospective of his 1950s work at Guillermo de Osma gallery (Madrid). From 2003 to 2010, he continued participating in Arco exhibitions. In 2005, the University of Salamanca hosted a major exhibition featuring over one hundred works from 1993 to 2005, curated by art critic Javier Rubio Nomblot. Since 2006, Ramiro has continued his prolific career in Ávila (“La Torre Llameante”), Zamora, Madrid (“Laberintos II”), and Valladolid (“Torres y Laberintos”). He is currently working on new colorful contributions to his “Labyrinths.”
Ramiro Tapia is an artist deeply committed to his original and unique inner voice, gifted with a singular understanding of artistic dedication—a true rara avis in our postmodern era, dominated by fleeting trends and superficial marketing. There are infinite corners and hidden places in the heart of Ramiro’s work, and I truly believe it is easy to lose oneself in his elusive labyrinths, burning structures, and disturbing symmetries, and ultimately in the creatures born from the primal Anima Mundi. Art, memory, and knowledge converge in his magnificent and unparalleled architecture of imagery. His “Hermetic” quality is evident in the intricate network of symbols and signs displayed in his works, and I encourage you to discover them personally.
It is a pleasure to introduce my dear friend Ramiro Tapia, a great person and artist. An outstanding example for future generations of artists and humanists.
Thank you, Amparo, and thank you, Ramiro. It is truly an honor to share this world with you and to count you among my closest friends.
- Official website: http://www.ramirotapia.com/index.html
- Weblog: http://ramirotapia.blogspot.com/
- Online exhibition in Azogue Journal: http://www.revistaazogue.com/hermetica/Tapia.htm
