Antoni Tàpies, Spanish Abstract Painter, Dies at 88 Antoni Tàpies, a largely self-taught Spanish abstract painter whose seductive, tactile surfaces, often scratched with mysterious graffiti-like marks, made use of unconventional materials like marble dust, ground chalk, sand and earth, died on Monday in Barcelona. Douglas Baxter, president of the Pace Gallery in New York and a friend of the artist's, announced the death in a statement. Mr. Tàpies (pronounced TAH-pee-ess) came to prominence in the late 1940s with richly symbolic paintings strongly influenced by Surrealist painters like Miró and Klee, a style he abandoned by the mid-1950s as he turned to what became his signature work: the heavily built-up surfaces that were often scratched, pitted and gouged and incised with letters, numbers and signs. Using a wide variety of materials, on canvases and boards that often suggested walls, doors, windows or gates, he grounded his work in the brute reality of the Spanish street and in the turbulent political dramas of his youth in Catalonia, including the Spanish Civil War and a Catalan nationalist movement. "The dramatic sufferings of adults and all the cruel fantasies of those of my own age, who seemed abandoned to their own impulses in the midst of so many catastrophes, appeared to inscribe themselves on the walls around me," he told the French dealer and art critic Michel Tapié in 1969. My first works of 1945 already had something of the graffiti of the streets and a whole world of protest - repressed, clandestine, but full of life - a life which was also found on the walls of my country. The rich, painterly textures and sober use of color in his "matter paintings" lent a moving solemnity - the critic John Russell referred to their "seignorial dignity" - to works that "seemed to have been not so much painted as excavated from an idiosyncratic compound of mud, sand, earth, dried blood and powdered minerals." Mr. Tàpies chafed at being characterized as an abstract painter. At the same time, he refused to explicate the tantalizing scratches, letters and crosses that seemed to offer the viewer a text. His dreamlike symbols, fished from the soup of the unconscious, suggested an ancient language waiting to be deciphered, but Mr. Tàpies declined to assist. He did, however, place his work in the realm of the sacred, but a world far removed from his strict Catholic upbringing. "In our world, in which religious images are losing their meaning, in which our customs are getting more and more secular, we are losing our sense of the eternal," he said on the BBC arts program Omnibus in 1990. I think it's a loss that has done a great deal of damage to modern art. Painting is a return to origins. Antoni Tàpies Puig was born in Barcelona on Dec. 13, 1923. His father was a lawyer and Catalan nationalist who served briefly with the Republican government. At 17, Mr. Tàpies suffered a near-fatal heart attack caused by tuberculosis. He spent two years as a convalescent in the mountains, reading widely and pursuing an interest in art that had already expressed itself when he was in his early teens. To please his father, he enrolled in the University of Barcelona to study law, but he continued to produce art and for two months studied drawing at the Valls Academy. With the Catalan poet and playwright Joan Brossa, he founded Dau al Set ("The Seven-Spotted Die"), a progressive arts magazine, and, at an exhibition of his work in Barcelona, befriended Miró, a decisive influence. In 1954 he married Teresa Barba Fàbregas. They had three children, Antoni, Miguel and Clara. His earliest works were collage-based abstract paintings on cardboard that anticipated the arte povera movement of the 1960s in their use of such humble materials as string and scraps of paper. After studying in Paris, where he met Picasso, a fellow Catalan, Mr. Tàpies began exhibiting regularly and, after the Surrealist adventures of his "magic period," he set about transforming himself into a painter who, as the critic Roland Penrose put it in his monograph "Tàpies" (1978), "a painter who was to create mysteries in matter itself."