1929 Nace en Castellón de la Plana, el 8 de febrero.
1929 Born in Castellón de la Plana, on February 8.
1949 Starts his studies at Escuela Superior de Bellas Artes, San Carlos, in Valencia.
1955 Awarded the post of Professor of Drawing at the Instituto Laboral de Benicarló (Castellón).
1960 Professor of Drawing at Universidad Laboral de Tarragona.
1964 Combines his teaching work with the Escuela de Maestría, Conde de Rius, subsequently named Instituto Politécnico, and is awarded the post of Professor of Drawing Theory.
1993 As Professor of Drawing at Centro de Ingeniería Técnica de la Universidad Laboral de Tarragona, he is appointed to the Teaching Faculty at Universidad Rovira i Virgili, in the field of Graphic Expression in Engineering.
1994 Retired as Professor at Universidad Rovira i Virgili.
An essential feature of Català's still-lifes is their refinement, their composition of sumptuous contaminations, with which he achieves a complex simplicity of the theme. The idea of order invades his paintings, and is reached through an exhaustive study of geometry. Any element is a reflection of a sphere or an ovoid, a cylinder or a cone, and even the fabric, broken down into folds and creases, has a stellar or radial arrangement. The painter becomes a geometrist, a basic application for any artist, and through his respect he translates it into intimate concepts of aesthetic transmission.
The compositional work of Català develops from the originality and personality of the author. The precedents are diverse, from the simplicity and austerity of the works of Zurbarán and Cotán to the constitution of works based on the vibrations and intervals occurring between void and mass of Morandi. Català absolves segments and theories to create his own world containing timeless equilibriums and calculations that transcend the soul of simple conjunction.
Taking informalism as a starting point, with his intervention Català manages to 'relax' the scene, making it natural and every-day. But at the same time, in most of his works, our attention is drawn to a spectacular proscenium between the painting and the viewer. Everything is precise –the slightest alteration of the motive would change the symmetry and the balance. The fabrics have been folded and creased, spurning the reflex act that they may appear to show, where every-day, careless activity is absent from the model chosen to present itself as a background or element enhancing the exhibition of the objects as an aesthetic scenario. These work as guardians of a greater richness of internal rhythms in the painting, provided by the transfiguration from arch to circle, from radial to vertex, and from tonal play to the contrasts it supports.