{"id":146,"date":"2013-01-10T14:56:02","date_gmt":"2013-01-10T14:56:02","guid":{"rendered":"http:\/\/mfm.webege.com\/?page_id=146"},"modified":"2025-09-08T16:27:44","modified_gmt":"2025-09-08T16:27:44","slug":"biografia","status":"publish","type":"page","link":"https:\/\/josepmariarossello.com\/ca\/biografia\/","title":{"rendered":"Biografia"},"content":{"rendered":"\n

JOSEP MARIA ROSSELL\u00d3 I VIRGILI <\/strong><\/h2>\n\n\n\n

( XEMA ROSSELL\u00d3 )<\/strong><\/p>\n\n\n\n

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Biografia<\/h2>\n\n\n\n

Neix a Tarragona el 1950. Estudia a l\u2019Escola d\u2019Art de Tarragona, a l\u2019Escola de Belles Arts de Sant Jordi i gravat a l’Escola Massana de Barcelona. Els seus mestres van \u00e9sser els pintors Magda Folch i Guillem Bergnes.
Col\u00b7labora amb el Gran Teatre del Liceu. Resideix a Sitges del 1969 al 1983.<\/p>\n\n\n\n

Dibuixa a la revista Escrivim a les parets \u2013 Revista de les Arts<\/em> (Balaguer), al setmanari L\u2019Eco de Sitges<\/em>, a El M\u00f3n<\/em> (Barcelona) i a la revista Bonart<\/em> (2003). Experimenta en el camp de la m\u00fasica, acompanyat del pianista Charles Miles.<\/p>\n\n\n\n

A partir del 2003 col\u00b7labora amb articles a Bonart<\/em>, Diari Avui<\/em>, Nou Diari<\/em>, Revista del Centre de Lectura de Reus<\/em>, Diari de Tarragona<\/em>, El Punt<\/em>, Caldodecultivo<\/em> (Tarragona), M\u00e9s Tarragona<\/em>, Entitats<\/em>, la revista de poesia visual Veneno<\/em> (C\u00f2rdova), Letras Travestidas<\/em> (Uruguai).<\/p>\n\n\n\n

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Traject\u00f2ria art\u00edstica<\/h2>\n\n\n\n
    \n
  • 1983<\/strong>: Es trasllada a Madrid i despr\u00e9s a Roma per als murals de Pascua Popular Flamenca<\/em>, de Salvador T\u00e1vora i La Cuadra de Sevilla. Col\u00b7labora tamb\u00e9 en Piel de Toro<\/em> i en produccions d\u2019\u201cArte en la Calle\u201d amb Santiago Am\u00f3n. Participa en el projecte de la Plaza de Salvador Dal\u00ed (Madrid).<\/li>\n\n\n\n
  • Es trasllada a T\u00e0nger per treballar amb la Fundaci\u00f3 Carmen Mace\u00edn.<\/li>\n\n\n\n
  • 1992<\/strong>: Torna a Catalunya, realitza el cartell del Centenari de les Festes Modernistes de Sitges i dues col\u00b7leccions d\u2019aiguaforts (La creaci\u00f3<\/em> i Fades<\/em>). Presenta obres a la Catedral de Tarragona i al santuari de Jes\u00fas i Maria.<\/li>\n\n\n\n
  • Anys 90 i 2000<\/strong>: Realitza m\u00faltiples col\u00b7laboracions amb Salvador T\u00e1vora, dissenya vestits i pins festius, presenta escultures i projectes urbans, i desenvolupa obres en directe en festivals de jazz i amb orquestres.<\/li>\n\n\n\n
  • Col\u00b7labora amb escriptors com Olga Xirinacs i Jordi Cervera en projectes de pintura, il\u00b7lustraci\u00f3 i llibres.<\/li>\n\n\n\n
  • 2000-2010<\/strong>: Participa en projectes com Cadavre-exquis<\/em>, Cadavre & Grafit<\/em>, Suite Coltan<\/em> i exposicions experimentals.<\/li>\n\n\n\n
  • Escriu i publica diversos llibres (Rossell\u00f3-Dibuixos 1968-2002<\/em>, Suite Coltan<\/em>, Lorca, la inc\u00f3gnita visita<\/em>, etc.).<\/li>\n\n\n\n
  • 2011-2015<\/strong>: Projectes per al Teatre Tarragona, exposicions com Creaci\u00f3 \u2013 Destrucci\u00f3<\/em> i cloenda del Cat\u00e0leg Raonat (2017).<\/li>\n<\/ul>\n\n\n\n
    \n\n\n\n

    Exposicions<\/h2>\n\n\n\n

    Individuals destacades<\/h3>\n\n\n\n
      \n
    • 1967 Tarragona, Sala d\u2019Iniciatives i Turisme<\/li>\n\n\n\n
    • 1968 Reus, Centre de Lectura<\/li>\n\n\n\n
    • 1969 Tortosa, Centre de Comer\u00e7<\/li>\n\n\n\n
    • 1970 Tarragona, Vilanova i la Geltr\u00fa, Barcelona (Ateneu Barcelon\u00e8s)<\/li>\n\n\n\n
    • 1971 Sitges, Barcelona (Al poeta Federico Garc\u00eda Lorca<\/em>)<\/li>\n\n\n\n
    • 1972 Bologna (It\u00e0lia)<\/li>\n\n\n\n
    • 1973 Barcelona, Art Nou Sitgne<\/li>\n\n\n\n
    • 1974 Madrid, Galeries Skira<\/li>\n\n\n\n
    • 1975 Barcelona, Galeria As<\/li>\n\n\n\n
    • 1976 Barcelona, Art-Expo; La Haia, Nostalgallery; Madrid, Skira<\/li>\n\n\n\n
    • 1977 Tarragona, Vendrell<\/li>\n\n\n\n
    • 1978 Lleida, Balaguer<\/li>\n\n\n\n
    • 1979 Girona, Lleida, Saragossa, Sitges<\/li>\n\n\n\n
    • 1980 Barcelona (amb La Cubana), Castell de Sant Mart\u00ed<\/li>\n\n\n\n
    • 1981 Vilanova i la Geltr\u00fa<\/li>\n\n\n\n
    • 1982 Par\u00eds, Galeria Bohler<\/li>\n\n\n\n
    • 1983 Nova York, Galeria Paul Stooshnoff<\/li>\n\n\n\n
    • 1984 Nova York, Galeria Skira Leesing; Roma, Teatre Quirino<\/li>\n\n\n\n
    • 1985 Sevilla, Piel de Toro<\/em><\/li>\n\n\n\n
    • 1987 Su\u00efssa, Fundaci\u00f3 Pierre Gianada<\/li>\n\n\n\n
    • 1988 Par\u00eds, Galeria Bohler<\/li>\n\n\n\n
    • 1989 Nova York, Galeria Stooshnoff<\/li>\n\n\n\n
    • 1990 Tarragona, Sant Miquel d\u2019Escornalbou<\/li>\n\n\n\n
    • 1991 T\u00e0nger, Fundaci\u00f3 Carmen Mace\u00edn<\/li>\n\n\n\n
    • 1992 Barcelona, Biblioteca de Catalunya; T\u00e0nger, Picasso, G\u00f3ngora, Rossell\u00f3<\/li>\n\n\n\n
    • 1993 Tarragona, Catedral<\/li>\n\n\n\n
    • 1994 Tarragona, Museu d\u2019Art Modern<\/li>\n\n\n\n
    • 1995 Sitges, Biblioteca Santiago Rusi\u00f1ol; Cadis i Barcelona (Identidades<\/em>)<\/li>\n\n\n\n
    • 1996 Reus, Teatre Fortuny (KRMN<\/em>), Lleida<\/li>\n\n\n\n
    • 1998 Tarragona, Reial Club N\u00e0utic; Balaguer<\/li>\n\n\n\n
    • 1999 Tarragona, Ribes Art; T\u00e0rrega<\/li>\n\n\n\n
    • 2000 Madrid, Hotel Reina Vict\u00f2ria; Tarragona, Antic Ajuntament; Museu d\u2019Art Modern<\/li>\n\n\n\n
    • 2001 Barcelona, Mercat de les Flors; Calafell; Castell d\u2019Escornalbou; Vila-seca; Tortosa<\/li>\n\n\n\n
    • 2002 Lleida, Tarragona, Vila-seca, Tortosa, Sitges, Zaragoza<\/li>\n\n\n\n
    • 2003 Girona, Tarragona, Sitges, Barcelona, Madrid, Parma<\/li>\n\n\n\n
    • 2004 Zaragoza<\/li>\n\n\n\n
    • 2006 Tarragona, Llac Sala d\u2019Exposicions<\/li>\n\n\n\n
    • 2009 Orlando, Florida (USA)<\/li>\n\n\n\n
    • 2010 Tarragona, Museu d\u2019Art Modern<\/li>\n\n\n\n
    • 2011 Lleida, Forte dei Marmi (It\u00e0lia)<\/li>\n\n\n\n
    • 2012 Bolzano, Par\u00eds, Tarragona<\/li>\n\n\n\n
    • 2014 Centelles, URV Tarragona<\/li>\n\n\n\n
    • 2015 Tarragona, Tinglado 1 (Creaci\u00f3 \u2013 Destrucci\u00f3<\/em>)<\/li>\n\n\n\n
    • 2016 Tarragona, jardins de la ciutat<\/li>\n<\/ul>\n\n\n\n

      Col\u00b7lectives<\/h3>\n\n\n\n

      Ha participat en nombroses exposicions col\u00b7lectives arreu de Catalunya, Espanya i Europa.<\/p>\n\n\n\n

      \n\n\n\n

      Espais p\u00fablics<\/h2>\n\n\n\n

      La seva obra forma part de col\u00b7leccions de:<\/p>\n\n\n\n

        \n
      • Biblioteca de Catalunya<\/li>\n\n\n\n
      • Museu d\u2019Art Modern de Tarragona<\/li>\n\n\n\n
      • Fundaci\u00f3 Picasso (M\u00e0laga)<\/li>\n\n\n\n
      • Museo Reina Sof\u00eda (Madrid)<\/li>\n\n\n\n
      • Biblioteca Nacional (Madrid)<\/li>\n\n\n\n
      • Centre Georges Pompidou (Par\u00eds)<\/li>\n\n\n\n
      • Museu Dioces\u00e0 de Tarragona<\/li>\n\n\n\n
      • Casa-Museu Federico Garc\u00eda Lorca (Granada)<\/li>\n\n\n\n
      • Conservatori del Liceu (Barcelona)<\/li>\n\n\n\n
      • Ajuntament de Tarragona<\/li>\n\n\n\n
      • Creu Roja de Catalunya<\/li>\n\n\n\n
      • Universitat Rovira i Virgili<\/li>\n<\/ul>\n\n\n\n

        \u201cCom que Tarragona no \u00e9s l’ Empord\u00e0, Rossell\u00f3 no \u00e9s Dal\u00ed\u201d<\/h2>\n\n\n\n

        Xavier Barr\u00e0l i Altet<\/span><\/p>\n\n\n\n

        \u201cL’art de Rossell\u00f3 \u00e9s pura m\u00edstica. Copsa els secrets no revelats de la vida. El seu \u00e9s un projecte form\u00f3s, rellevant i sobretot po\u00e8tic.\u201d<\/h2>\n\n\n\n

        Calixto Bieito.<\/span><\/p>\n\n\n\n

        \u201cLa obra de Rossell\u00f3 tiene su enclave en un expresionismo sin deformaciones gesticulantes, antes bien muy vertido hacia dentro, con intimas tensiones resueltas en gama fria de azules y negros, con algunos rosados fantasmales.\u201d<\/h2>\n\n\n\n

        Rafael Santos Torroella<\/span><\/p>\n\n\n\n

        \u201cLa pintura de Rossell\u00f3 es punto de llegada de corrientes dispares, al tiempo que punto de partida hacia lo m\u00e1gico\u201d<\/h2>\n\n\n\n

        Jos\u00e9 Hierro.<\/span><\/p>\n\n\n\n

        \u201cEl misterio que es siempre el entorno y la categoria del amor hace presa de la totalidad de la imagen y en el lirismo misterioso de estas obras, el artista rinde homenaje a los creadores de su tiempo, plantea su teoria de la poesia y del sue\u00f1o, del hombre que recorriendo el doble camino del amor y la muerte se dirige hacia su aniquilamiento.\u201d<\/h2>\n\n\n\n

        Raul Chavarri<\/span><\/p>\n\n\n\n

        \u201cContemplar la obra de Rossell\u00f3 es una invitaci\u00f3n al encuentro con lo l\u00edrico en su profundo sentido de an\u00e1lisis suprarreal.\u201d<\/h2>\n\n\n\n

        Emilio Rey<\/span><\/p>\n\n\n\n

        \u201cLa poesia pl\u00e0stica de Josep Maria Rossell\u00f3 l\u00e9xpliquen m\u00e0gicament aquelles paraules de Lorca: La poesia no vol adeptes, vol amants.\u201d<\/h2>\n\n\n\n

        Jordi Bert\u00e1n<\/span><\/p>\n\n\n\n

        \u201cEls espectadors d’uns escenaris tan rics com complexos passem d’una obra a l’altra amb la sensaci\u00f3 que ens queden elements per descobrir i que les lectures i les percepcions s\u00f3n, en realitat, m\u00e9s complexes del que a primera vista contemplem.\u201d<\/h2>\n\n\n\n

        Vinyet Panyella<\/span><\/p>\n\n\n\n

        \u201cDins d’una personal i molt caracteristica figuraci\u00f3 que t\u00e9 molt d’ onirica, la pintura de Rossell\u00f3 capta la atenci\u00f3 dels amants de les arts pl\u00e0stiques per la seva interna mobilitat i per la reflexi\u00f3 a la qual porta el color.\u201d<\/h2>\n\n\n\n

        Josep Maria Cadena<\/span><\/p>\n\n\n\n

        \u201cRossell\u00f3 a proced\u00e9, au cours d’une r\u00e9ception offerte en son honneur, au Mus\u00e9e International d’Art Contemporain de Tanger, Foundation Carmina Mace\u00edn, \u00e0 une demonstration insolite en realisant, en l’espace d’une minute, un magnifique tableau sur une piece de verre d’un m\u00e8tre cinquante de longueur et de cinquante centim\u00e8tres de largueur.<\/h2>\n\n\n\n

        Puis, devant l’admiration unanime de l’assistance dont plusieurs personnalit\u00e9s marocaines et espagnoles du monde des lettres et des arts, il recula queques m\u00e8tres et lan\u00e7a une pierre sur son travail, le r\u00e9duisant en morceaux de verre\u201d<\/h2>\n\n\n\n

        A. Bakat<\/span><\/p>\n\n\n\n

        \u201cUn’ora e venti minuti, circa, dura la rappresentazione. Tanto basta perch\u00e9, su una pedana sopraelevata, al fondo della scena in ombra, il pittore catalano Rossell\u00f3 dipinga un’amplia tela, ricreando a sua volta i personaggi e gli emblemi della Passione, a riscontro e complemento organico dello spettacolo( flotti di luce consentono, di tratto in tratto, di seguire le tappe dell’opera). La sua sigla, o firma, \u00e8 un taglio netto sulla sinistra della pittura, come una ferita aperta. Molte sono le ferite, difficili a rimaginarsi, che la Spagna, con tutto il mondo, reca nelle sue carni.\u201d<\/h2>\n\n\n\n

        Aggio Savioli<\/span><\/p>\n\n\n\n

        \u201cRossell\u00f3 \u00e9s esperit creador, no tem el treball, l\u2019estima. Guien la seva m\u00e0 els m\u00e9s nobles designis. Viu per compartir la passi\u00f3 per la bellesa que descobreix per tot, li d\u00f3na forma, la pinta, l\u2019escriu, la proclama, sempre amarat de Mediterr\u00e0nia.\u201d<\/h2>\n\n\n\n

        Jordi Rovira<\/span><\/p>\n\n\n\n

         <\/p>\n","protected":false},"excerpt":{"rendered":"

        JOSEP MARIA ROSSELL\u00d3 I VIRGILI ( XEMA ROSSELL\u00d3 ) Biografia Neix a Tarragona el 1950. Estudia a l\u2019Escola d\u2019Art de […]<\/p>\n","protected":false},"author":1,"featured_media":152,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"","meta":{"site-sidebar-layout":"default","site-content-layout":"","ast-site-content-layout":"narrow-width-container","site-content-style":"default","site-sidebar-style":"default","ast-global-header-display":"","ast-banner-title-visibility":"","ast-main-header-display":"","ast-hfb-above-header-display":"","ast-hfb-below-header-display":"","ast-hfb-mobile-header-display":"","site-post-title":"","ast-breadcrumbs-content":"","ast-featured-img":"","footer-sml-layout":"","theme-transparent-header-meta":"","adv-header-id-meta":"","stick-header-meta":"","header-above-stick-meta":"","header-main-stick-meta":"","header-below-stick-meta":"","astra-migrate-meta-layouts":"default","ast-page-background-enabled":"default","ast-page-background-meta":{"desktop":{"background-color":"var(--ast-global-color-5)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"ast-content-background-meta":{"desktop":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"tablet":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""},"mobile":{"background-color":"var(--ast-global-color-4)","background-image":"","background-repeat":"repeat","background-position":"center center","background-size":"auto","background-attachment":"scroll","background-type":"","background-media":"","overlay-type":"","overlay-color":"","overlay-opacity":"","overlay-gradient":""}},"footnotes":""},"class_list":["post-146","page","type-page","status-publish","has-post-thumbnail","hentry"],"_links":{"self":[{"href":"https:\/\/josepmariarossello.com\/ca\/wp-json\/wp\/v2\/pages\/146","targetHints":{"allow":["GET"]}}],"collection":[{"href":"https:\/\/josepmariarossello.com\/ca\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/josepmariarossello.com\/ca\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/josepmariarossello.com\/ca\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/josepmariarossello.com\/ca\/wp-json\/wp\/v2\/comments?post=146"}],"version-history":[{"count":80,"href":"https:\/\/josepmariarossello.com\/ca\/wp-json\/wp\/v2\/pages\/146\/revisions"}],"predecessor-version":[{"id":2338,"href":"https:\/\/josepmariarossello.com\/ca\/wp-json\/wp\/v2\/pages\/146\/revisions\/2338"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/josepmariarossello.com\/ca\/wp-json\/wp\/v2\/media\/152"}],"wp:attachment":[{"href":"https:\/\/josepmariarossello.com\/ca\/wp-json\/wp\/v2\/media?parent=146"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}