MODERN ART.

MODERN ART PAINTINGS. CONTEMPORARY PAINTING 21ST CENTURY. MODERN ARTISTS. ART:21.

" I am not a vanguard artist.  My art is contemporary, literally speaking: a product of its times.  Vanguard, on the contrary, represents the most innovative – neither better nor worse; like the sharp point of a spear which opens up new paths.  However, that sharp point needs all the power and weight of the rest of the spear, the weight of Art History.  Without all this History, there is no push to open up new ways.  Vanguard Art represents freshness, novelty, surprise, the truth and the fake, a risky and fascinating bet.  However, what intrigues me is to draw from the classic and contemporary traditions, to deepen into the walked path, and to remain vigilant – like many other artists – to provide vanguard artists with a solid foundation.  Much in the same way as an older brother holds his youngest brother’s hand with fascination as the intrepid child peeks, with wonderful daring and no fear, into the abyss.  I need to keep an eye on the Vanguard Movement because it keeps me young as an artist, it cleanses me, it clears up my spirit so that my view doesn’t sour.  I am a part of the body of the spear and, from that vantage point, I observe with fascination the young sharp art poking at the same time as I draw from the magnificent work of the masters of all times, the powerful legacy that sustains us.  I am not part of the sparkles – sometimes ephemeris – of the spearhead.  Each one of us has his role, and mine, nowadays, is not in the vanguard."
"ABOUT JOAQUÍN SOROLLLA.: Today it seems to be not much modern to speak about Joaquín Sorolla, the great Valencian painter, but I always have refused to see in him an antiquated, impressionistic painter, luminous and little more. On the contrary; Sorolla is one of the big ones, a titan, a Colossus of the painting. I maybe it would compare neither to a Velázquez nor to a Picasso, that it would be very daring, but yes that I see at a height of a Cezanne or a Manet. Well it is true that the work of the Valencian one is very unequal in quality and is paying for decades for this discontinuity in such a way that very few people can rescue between his painting those linens which catapult him towards the Olympus: Sorolla's white linens."

"Abstract Painting and Surrealist Painting, apart from being essential and marvellous in themselves, also fulfil an invaluable pedagogical function these days for any artist. They have now become part of Classical Art and are the Artistic Heritage for Spiritual Learning and Artistic technique. They are like gymnastics for the unaware and for the eye, providing places where almost all feelings and spiritual emotions can be hatched to finally lead to building this immeasurable and grandiose thing we call THE ART of PAINTING." 
"A good drawing does not in any way compare unfavourably with a good painting. It is more the case that beneath every picture is an essential underlying drawing that sustains it, a skeleton that mobilises it and gives it form. Any painting lacking this base crumbles and appears flimsy."

CURRENT PAINTING 21. CURRENT ART. CURRENT MODERN PAINTING.

Modern Painting. ARTISTS 21.		Modern Painting. ARTISTS 21.		Modern Painting. ARTISTS 21.
CURRENT ART. CONTEMPORARY STILL LIFES.		CURRENT MODERN ART. MODERN STILL LIFES.		CURRENT MODERN PAINTING. MODERN PORTRAITS
Modern Painting.		Modern Painting.		Modern Painting.
		CURRENT MODERN ART. MODERN STILL LIFES.
Modern Art.		Modern Art.		Modern Art.
ART21. Modern Art.		ART21. Modern Art.		ART21. Modern Art.
Modern Artists.		Modern Artists.		Modern Artists.
21st Modern Art Painting.		21st Modern Art Painting.		21st Modern Art Painting.
21st Modern Art Painting.		21st Modern Art Painting.		21st Modern Art Painting.
21st Contemporary Art Painting.		21st Contemporary Art Painting.		21st Contemporary Art Painting.

(Translated with a machine) " The drawing does not remain defined by the line, not even the painting remains defined by the color. The painting is still saved, and this is partly what defines her at present, of being able to be assimilated and comprising across a monitor or a photo. On the other hand the drawing yes that is asimilable for these means;, separate fetishisms, it does not matter to me to have an original drawing to whom it belongs that a photo or an identical poster of him. It is the same thing and the drawing can be enjoyed identically, as it happens in spite of reading a good book in an edition or other one, or seeing the same photo revealed for the second or tenth time. When it is neither in game nor the fetishism nor the plasticity, all these supports take us to the nobility - or misery - of the work. But in painting there is always in game the plasticity, the plastic thing, the morbid thing, the opaqueness or the transparence, the brilliant or dull surface.. .. qualities you are impossible to transmit by means of a monitor of computer, a TV set, or a poster. The digital thing, far from ruining the arts, which it does is to demonstrate what singular these have, and the painting gains the garland because presently it is impossible to enjoy completely The Meninas in an image, impossible to feel the powerful sensation of gap of the stay where Velázquez does, impossibly to perceive the pearly rind of the pictorial layer of the picture, useless to be turned and to see her of side to be able to feel the delicate nodes and stretch marks of the painting of the genius. And let's not say anything about pictures of Tàpies, or about Lucian Freud, or about Jasper Johns... The color and the disposition of the forms can suggest us very much, desdeluego, but they remain far, they are not enough to express the plasticity of the picture. This is the Painting. "

(Translated with a machine) " In painting and in drawing, technically speaking, the things can be harmed if they cannot do well, but the made bad thing must be perfectly bad fact. This way the result will always be good. " (summer 2004)

MODERN ART:21. PAINTING. ARTISTS.
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