JaZzArt en València

These three are very interesting and quite different in style and approach to their creative process. I think they are a great special edition to this series of «Art History in One Minute (videos)«.

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WINTER SPEAKS
(Based on Vivaldi’s “Winter”)

The ground is frozen and still,
and the wind strikes hard,
the earth holds its breath,
as the air becomes a cutting sound.
Footsteps marking time in stinging air,
Cold fingers ache to feel the flames soft warmth,
while nature lies stripped,
bare,
laid fair.

While inside the flames resist the night,
snow taps glass with muted might.
Brandy’s comfort swirls in brilliant glass,
and hums in peace,
a sheltered space,
while storms patrol the world’s hard face.
Ice will soon betray the hurried step,
the sky releasing now what it has kept.
Winter speaks in steel and snow,
a trial endured, then let go.

Francisco Bravo Cabrera – 06 JAN 2026 – Valencia, España

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Brief Synopsis of “Winter” from The Four Seasons

“Winter” (L’Inverno), the final concerto of Antonio Vivaldi’s The Four Seasons (1725), depicts the harshness and stillness of winter through vivid musical imagery. The first movement portrays bitter cold, chattering teeth, and stamping feet against freezing winds. The slow second movement offers a moment of respite, suggesting warmth and shelter by the fire while rain falls gently outside. The final movement returns to tension and motion, evoking slipping on ice, cracking frost, and the relentless force of winter storms. Throughout, Vivaldi uses sharp contrasts, rhythmic urgency, and textural effects to create a highly programmatic depiction of the season.

Brief Biography of Antonio Vivaldi

Antonio Lucio Vivaldi (1678–1741) was an Italian Baroque composer, virtuoso violinist, and Catholic priest, born in Venice. Nicknamed Il Prete Rosso (“The Red Priest”) due to his red hair, Vivaldi composed hundreds of concertos, as well as operas, sacred music, and chamber works. He spent much of his career associated with the Ospedale della Pietà, a Venetian institution for orphaned and abandoned girls, where he trained and composed extensively for its renowned ensemble. Although celebrated during his lifetime, Vivaldi fell into obscurity after his death and was rediscovered in the early 20th century. Today, he is recognized as one of the most influential composers of the Baroque era.

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We at LatinosUSA (English and Spanish Editions) are extending an open invitation to all who would like to see their works published in our online magazine. LatinosUSA is part of the great network of online magazines under the MASTICADORES seal. We publish every day and would like to have you join our extensive list of collaborators from all over the world.

All interested please email me, Francisco Bravo Cabrera, Poetry Editor at:

ArribaPamplona@gmail.com

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Comenzamos el año, y la temporada 2026, de la revista online LatinosUSA (English/Español) que os invita a colaborar con nosotros. Somos parte de la gran red de revistas online bajo el sello de MASTICADORES, creada por nuestro editor y jefe, Juan Ré. Llamamos a poetas, escritores y artistas que participan en cualquiera de las bellas artes para invitaros a publicar en nuestra revista. Publicamos diariamente.

Y a ti, si te interesa, únete a nuestro extenso grupo de colaboradores del mundo entero. Mándame un email y te explicaré el proceso.

Francisco Bravo Cabrera, editor de poesía: ArribaPamplona@gmail.com

GRACIAS

Perhaps the creator of the Renaissance…

Filippo Brunelleschi (1377–1446), Italian architect and engineer, widely regarded as one of the key figures in the dawn of the Italian Renaissance. He is best known for his ground-breaking work in architecture, especially for designing the iconic dome of the Florence Cathedral (Santa Maria del Fiore), which became a symbol of Renaissance innovation and human achievement.

Brunelleschi was total genius. He started his career as a sculptor, then focused on architecture and engineering. In these fields he made his greatest contributions to history. He is often credited with developing the principles of linear perspective, which revolutionized the way space and depth were represented in art, influencing painters like Masaccio and later Renaissance artists.

MAJOR WORKS

The Dome of Florence Cathedral (Duomo di Firenze). This is his masterpiece. Brunelleschi developed an innovative solution to construct the massive dome without the use of scaffolding, creating a double shell structure that was both stable and aesthetically harmonious. The dome remains one of the largest and most impressive domes in the world.

The Pazzi Chapel (Basilica di Santa Croce). This chapel is a model of Renaissance architecture, featuring a balanced, harmonious design with classical elements like domes and arches. It exemplifies Brunelleschi’s mastery of space, geometry, and proportions.

Ospedale degli Innocenti. This hospital, in Florence, is another seminal work of Brunelleschi’s. It was one of the first buildings to incorporate the use of classical columns in a fully realized Renaissance style, blending classical forms with modern functionality.

WHY HE IS CONSIDERED THE CREATOR OF THE RENAISSANCE

Brunelleschi shifted the focus of architecture and engineering toward a renewed study of the classical past. This led to the Renaissance revival of ancient Roman and Greek principles, blending them with the new humanist ideals of the time. His mastery of perspective, both in art and architecture, also played a phenomenal role in the development of Renaissance visual culture.

Brunelleschi led the transition from medieval Gothic architecture to the balanced, proportioned, and rational designs that characterize Renaissance architecture. By combining art, mathematics, and engineering, he pushed the boundaries of what was thought possible in construction, influencing generations of architects and artists who followed.

In truth, Brunelleschi was more than just an architect; he was an inventor and a visionary, embodying the spirit of Renaissance innovation and exploration.

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If you are into abstract art you should know…

Check us out for a companion post on abstract art.

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Por eso el pasado nunca se debe ocultar por muy feo que haya sido… ¿No?

In general terms I would say that The Summoning Trumpet of Jazz is a striking, emotionally charged piece with a strong sense of rhythm and movement…

The composition, (JazzArt) has many interlocking layers, as a surrealist painting should. There are overlapping profiles, curved forms, faces, instruments, and abstract shapes, compressed into a shallow picture plane. This creates tension and intimacy. And the profiles facing different directions gives a sense of multiple perspectives or voices coexisting at once. As in Jazz.
The trumpet is the composition’s structural axis, as it cuts diagonally through the image and stitches the figures together. Nothing exists in isolation. Each shape bleeds into another. This suggests interconnected identities or shared experience.

Colour, which for my style is fundamental, is one of the most powerful elements here: Primary and secondary colours dominate: (red, yellow, blue, green, purple),. They give energy and immediacy. And the colours are expressive rather than naturalistic. In other words, they reinforce emotional meaning over realism. The warm colours (reds, yellows) push forward, while cooler blues and greens recede. This creates depth, as I do not use traditional perspective. And the red is very important as it appears in faces and hands, suggesting intensity, passion, or sound made visible.

The composition includes multiple faces. Some may appear to be calm, others perhaps melancholic. It is a suggestion within the composition: Inner dialogue, different emotional state, or a collective memory/shared cultural voices.

Then there are the renewal of some of my early trademarks, the swirling decorative lines (especially around the heads). These can be taken to represent: sound waves, thoughts, or spiritual energy. After all, within the surrealistic-expressionist quality of the composition, sound, emotion, and colour merge.

The style of the work aligns with Cubism and Expressionism, but there is much symbolism within this composition. This renders the work totally within my Surreal-Expressionist JazzArt style. I have used folk tradition as well, especially the swirling patterns, but they serve an expressive, narrative purpose rather than a purely formal one.

I would like to think of The Summoning Trumpet of Jazz as being pretty intense and harmonious. It is not chaotic, though it might give that impression. It is orchestrated, as a jazz song for a quintet would be. The different instruments, all ready to improvise and solo, but working as a single musical unit. Art and music unified in a memory of sound and emotion.

The Summoning Trumpet of Jazz calls you to share its energy and emotional depth. The observer can linger and interpret, but not consume rapidly this composition. I am trying to express an experience. The experience of jazz, a live performance filled with the solid unity of the group and the individual brilliance of the soloist.

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Well, as far as I am concerned, art is the way I have lived all my life, and it has been with me through all facets of my life… Through relocations, through war, through work, through uni, through love and through the ever changing cycles and through my awareness and learning and mostly my gratitude.

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