JaZzArt en València

Este cuadro, venga, este pedazo de cuadro, es una autentica maravilla, una obra fenomenal del pintor aragonés Francisco Padilla y Ortiz (1848-1921), pintado en 1877 y que mide 340 x 500 centímetros… Pero da pie a una gran mentira propagada por el nombrete que le pusieron a la que fue reina de Castilla, de Aragón y Navarra desde 1516 hasta 1555, Doña Juana I de Castilla, que no estaba loca, pero que la quiso hacer loca su propio padre Don Fernando de Aragón y luego su hijo en rey Carlos I (Rey de España y como Carlos V, emperador del Imperio Sacro Germánico). Gracias a estos dos, padre e hijo, no ejerció poderes alguno desde 1506 y desde 1509, hasta su muerte vivió encerrada en Tordesillas, en un castillo viejo, frio y húmedo. No se lo merecía.

Pero el cuadro de Padilla sirve para ejemplificar el amor que tuvo la reina Juana por su adorado esposo, Felipe el Hermoso, duque de Borgoña.

Aqui la vemos en un retrato de Master de Affligem circa 1500.

GRACIAS

Ver colores es un don divino pues Dios creo la luz y gracias a ella podemos recoger esas vibraciones mágicas e interpretarlas y convertirlas en colores. Los colores en el mundo, en nuestro medio ambiente, no son cosas estáticas, son energía y se mueven según la luz y como la luz, a través del dia va cambiando, asi también los colores. El trabajo del pintor figurativo, como dijo Antonio López, es pintar lo que ve, lo que lo rodea, entonces tiene que pintar la luz. Pero, ¿Como lo hago? Creo que es una pregunta que se han hecho muchos pintores a través de la historia y muchos han encontrado soluciones maravillosas, innovadoras, en fin, geniales. Para mi, como siempre digo que el arte es la búsqueda, ese planteamiento se convirtió en una fuente nueva y diferente de acercarme al lienzo, a la paleta, a la creación de un cuadro. No os voy a describir el procedimiento que adopte para esta serie, sino os dejo con los cuadros para que vosotros seáis los que los interpreten y encuentren la luz dentro y fuera de las composiciones…

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To see colours is a divine gift since God created light, and thanks to it, we can collect those magical vibrations, interpret them, and turn them into colours in our brains. Colours in the world, in our environment, are not static things, they are energy and they move according to light, and like light, they change throughout the day. The work of the figurative painter, as Antonio López said, is to paint what he sees, what surrounds him, so he has to paint the light. But, how do I do it? I think it is a question that many painters have asked themselves throughout history and many of them have found wonderful, innovative, and brilliant solutions. For me, as I always say that art is the search, this question became a new and different way for me to approach the canvas, the palette, and the creative process involved in painting. I will not describe the procedure I adopted for this series, I will leave you with the paintings so that you can interpret them and find the light within and outside the compositions…

GRACIAS – CHEERS

«Sonistus» pertenece a una serie de pinturas que exploran el impacto de la luz, la luz del dia, según la captan los ojos nuestros, los del observador. Vemos colores por donde quiera que miremos, eso es algo particular y general en nuestra vida y de nuestra humanidad. No todos los seres vivos que deambulan por Mater Terram ven los colores que los rodean, y no digo solo los colores de las cosas, sino los colores que solos van de cosa en cosa y nuestros ojos humanos los perciben aunque no nos demos cuenta. Esa luz, ese impacto es lo que he tratado de reproducir en esta serie de cuadros. Las manchas de colores se animan unas a las otras, se unen, se separan, se juntan y se dispersan sin lógica y sin sentido, aparentemente, pero todo esta bien calculado bajo el sol pues la Tierra, la naturaleza y nosotros mismos somos fruto de la creación, no de la aleatoriedad.

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«Sonistus» belongs to a series of paintings that explore the impact of light, daylight, as captured by our eyes, the eyes of the observers. We see colours everywhere we look, something that is particular and general in our lives and our human condition. Not all living beings wandering through Mater Terram see the colours that surround them, and I don’t just mean the colours of things, but the colours that move from one thing to another under the light. Our human eyes perceive them even if we don’t realize it. That light, that impact, is what I have tried to reproduce in this series of paintings. The splashes of colours animate each other, come together, separate, join, and disperse without logic and without apparent meaning, but everything is well calculated under the sun because the Earth, nature, and ourselves are the result of creation, not randomness.

GRACIAS – CHEERS

Ver colores es un don divino pues Dios creo la luz y gracias a ella podemos recoger esas vibraciones mágicas e interpretarlas y convertirlas en colores. Los colores en el mundo, en nuestro medio ambiente, no son cosas estáticas, son energía y se mueven según la luz y como la luz, a través del dia va cambiando, asi también los colores. El trabajo del pintor figurativo, como dijo Antonio López, es pintar lo que ve, lo que lo rodea, entonces tiene que pintar la luz. Pero, ¿Como lo hago? Creo que es una pregunta que se han hecho muchos pintores a través de la historia y muchos han encontrado soluciones maravillosas, innovadoras, en fin, geniales. Para mi, como siempre digo que el arte es la búsqueda, ese planteamiento se convirtió en una fuente nueva y diferente de acercarme al lienzo, a la paleta, a la creación de un cuadro. No os voy a describir el procedimiento que adopte para esta serie, sino os dejo con los cuadros para que vosotros seáis los que los interpreten y encuentren la luz dentro y fuera de las composiciones…

+++++

To see colours is a divine gift since God created light, and thanks to it, we can collect those magical vibrations, interpret them, and turn them into colours in our brains. Colours in the world, in our environment, are not static things, they are energy and they move according to light, and like light, they change throughout the day. The work of the figurative painter, as Antonio López said, is to paint what he sees, what surrounds him, so he has to paint the light. But, how do I do it? I think it is a question that many painters have asked themselves throughout history and many of them have found wonderful, innovative, and brilliant solutions. For me, as I always say that art is the search, this question became a new and different way for me to approach the canvas, the palette, and the creative process involved in painting. I will not describe the procedure I adopted for this series, I will leave you with the paintings so that you can interpret them and find the light within and outside the compositions…

GRACIAS – CHEERS

La luz, procede del sol y de Dios que nos la ha dado… La luz nos es útil y gracias a ella podemos ver los colores que nos rodean. Y yo me pregunto, ¿Artísticamente, en un cuadro, como voy a representar esas vibraciones que vuelan, posan, arrancan y luego descansan, y que están por doquier y que mis ojos recogen y mi consciencia las transforma en colores? La respuesta es arte y por eso siempre digo que el arte es la búsqueda. Bueno, no se si he encontrado la «solución» pero al menos he hallado una que me place. Regando manchas de colores por el lienzo, interceptando y convergiendo con la composición, he logrado darle respuesta mi pregunta. Claro está, es solo uno de los muchos caminos que hubiera podido coger, pero al menos es algo y con algo se puede hacer mucho. ¿Qué os pensáis?

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The light comes from the sun and from God who has given it to us… Light is useful to us, and thanks to it, we can see the colours that surround us. And I wonder, artistically, in a painting, how am I going to represent those vibrations that fly, pose, start, and then rest, and that are everywhere and that my eyes pick up and my consciousness transforms into colours? The answer is art, and that’s why I always say that art is the search. Well, I don’t know if I have found the «solution,» but at least I have found one that pleases me. By spreading splashes of colours on the canvas, intercepting and converging with the composition, I have managed to answer my question. Of course, it is only one of the many paths I could have taken, but at least it is something, and with something, much can be done. What do you think?

GRACIAS – CHEERS

No estoy seguro pero supongo que por ahí deambulen algunos que piensan que la vida se parece a un cuarteto de Jazz. Al menos me planteo eso como una posibilidad y quizá los que lo piensen tengan razón. Todos sabemos que la vida tiene su ritmo, se habla siempre del «ritmo de la vida», bueno pues esa es la primera coincidencia entre la vida y el cuarteto pues uno de los integrantes del cuarteto, el percusionista, va marcando el ritmo de las piezas que tocan. Además del compás, esta la melodía, o sea lo que en la vida seria el pasar del tiempo, el va y ven de las estaciones, de los días, los meses, los años. El cuarteto está compuesto por cuatro seres completamente distintos. Pueden ser cuatro hombres, cuatro mujeres o combinados de cualquier otra manera, como lo somos en la vida. En la vida todos somos únicos y por mucho que nos podamos parecer unos a otros, somos diferentes de los demás. Finalmente diría que el cuarteto cumple con una función que es hacer música, para ella sus integrantes se han preparado, han elegido las piezas a tocar, han estudiado, ensayado y luego las han presentado ante el público. Igual nosotros vamos poco a poco aprendiendo, estudiando, preparándonos y cuando nos toque, nos presentamos ante los demás y somos vida. Pero este cuarteto que os veis no es un cuarteto, es una ilusión, una idea, un cuadro. Entonces ¿Se parecerá mejor a cuadro la vida y no a un cuarteto de Jazz?

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I’m not sure but I suppose there are some who think that life is like a jazz quartet. At least I consider that as a possibility and perhaps those who think that are right. We all know that life has its rhythm, we always talk about the «rhythm of life», well that’s the first coincidence between life and the quartet because one of the members of the quartet, the percussionist, sets the rhythm of the pieces they play. In addition to the rhythm, there is the melody, which is what in life would be the passage of time, the coming and going of the seasons, days, months, years. The quartet is composed of four completely different beings. They can be four men, four women, or combined in any other way, as we are in life. In life, we are all unique and no matter how much we may resemble each other, we are different from others. Finally, I would say that the quartet fulfils a function, which is to make music, for which its members have prepared, chosen the pieces to play, studied, rehearsed, and then presented them to the public. Similarly, we gradually learn, study, prepare, and when it is our turn, we present ourselves to others for we are life. But this quartet that you see is not a quartet, it is an illusion, an idea, it is just a picture. So, could life resemble a picture better than a jazz quartet?

GRACIAS – CHEERS

The right to protest is contingent upon acquiring the appropriate permission and that the protest be and remain always peaceful. This is not what we are seeing take place in the unis in the US. Violent clashes with the police forfeit their protests and make me think that these are not real «students» raising their voices and exercising their right to express themselves. I wonder whose money is behind these «spontaneous» protests in US universities. And I also wonder why the universities should put up with such activities. After all, aren’t these places for the acquisition of knowledge? Are they not houses of higher learning? When do these «students» actually study? Camping out as a sign of protest seems like an incredible way to waste valuable time. And no, US President Biden will not change his position on assistance to Israel because Israel, although these «students» don’t want to see it, is the victim. Israel was attacked, brutally and mercilessly and it’s citizens, as well as those of other countries are still being held by the terrorist group Hamas. Why are there no protests against those cruel and uncivilised actions? So, in conclusion, I do not buy it. These «protestors» are having us on big time. And it is about time that the press call them what they are, agitators and agents provocateurs.

C H E E R S

El gobierno no tiene que meterse en la cultura del pueblo… ¡Que vivan los toros y los toreros!

George Harrison (former member of The Beatles) wrote a song in 1970, «I Me Mine«, which described exactly what was happening at the time the band was disintegrating. It was the worst moments for John, George, Paul and Ringo, because they, who were colleagues and friends, suddenly couldn’t stand each other. Quarrels and fights, over almost everything, flared up, and as you can imagine, most were about money. «I Me Mine«, whose lyrics speak of selfishness and greed, turned out to be the last song recorded by the «Fab Four» (as they were called), but without the participation of John Lennon. Harrison concluded, quite rightly, that what they were going through was a war of egos, and big egos they were.

As George was not yet up to the artistic standards of Paul McCartney and John Lennon, they mostly excluded him from the band’s artistic affairs, so he devoted himself to observing the quarrels between the two «leaders». He noticed that it all boiled down to «this is mine» or «I did it,» and back to mine again, and again, ad nauseum. At those moments, nothing had to do with the concept of «us» anymore. The Beatles no longer existed. What those four lads from Liverpool, who made (and still make) history, had been, no longer was. Yes, they were famous, they would continue to be so in perpetuum, but in 1970, they fought like cats and dogs.

And as I ponder upon this story, lamentably so well narrated in the movie Get Back, I wonder, how many relationships, marriages, partnerships, etcetera, have been broken due to ego issues, specifically egotistical attitudes and selfishness? There must be thousands and thousands! The ego is a fragile thing. In narcissists it is aggressive and knows how to defend itself from what it perceives as evils, whether real or imagined, and this could result in a war. Values, education, and humility can go to hell because the selfish person thinks that only fools give in and continues with his arrogance even if it ends in his own ruin.

Never doubt the fact that the ego is self-destructive. It makes you believe that you are truly one hell of a guy/gal, invincible, good-looking, irresistible and worth a million. And you, the idiot that you are, don’t even realise that the ego is leading you right to the edge of the cliff, and you will tumble and fall. We see that terrible trait in those that «supposedly» are leaders and those who aspire to be leaders, in bankers, in generals and in common every day people. Egotists have hubris to spare and a scarcity of humility. George Harrison saw it all quite clearly back in 1970 when he wrote “I Me Mine”. The truths narrated in those lyrics is a story that repeats itself so often not only in rock’s super-groups but in many aspects of our society as you well know.

CHEERS

Colour by itself can be a work of art as it communicates, conveys emotions and fills up a canvas creating a beautiful composition… but we’ll make it figurative by adding more…

Gracias – Cheers