Oil on panel - Signed - 2016
|Technique:||Oil on panel|
|Condition:||In good condition|
|Title of artwork:||Niños jugando en la playa|
|Artist:||Pablo S. "Landy"|
|Sold with frame:||Yes|
|Total dimensions (in cm):||42x38|
|Weight (in kg):||3|
|Picture size (in cm):||20x16|
Beautiful scenes with figures on the beach, painted by the great Sevillian artist Pablo “Landy”. Excellent work, full of light and colour. With certificate of guarantee.
Ready to be hung.
Dimensions: 42 x 38 cm (with frame), 20 x 16 cm (without frame)
Double, embossed, golden frame with black sub-frame. The frame is made in decorated wood.
Pablo S. "Landy" (20th century)
Pablo was born in Seville on the 4th of November, 1945. From a very young age, he showed a great interest in drawing and in all the plastic-artistic representations that arrived to his hands. He painted his first work at the age of 7. He began in this way a trajectory of vocation and efforts leading up to our days.
In the early 1960s, he joined the Escuela de Artes y Oficios Artísticos in Seville. He attended three courses of artistic design. He benefited a lot from it, obtaining high qualifications. Later, he worked as a copyist in the Museo Provincial de Sevilla, where he had as director the well-known Alfonso Grosso. He made copies of Murillo, Zurbarán, Virgilio Martoni, Villegas, Gómez Gil and many other different artists, who nurtured his eagerness to learn all that those authors give us with their works.
With this basis, and preferring a realistic and luminous painting, he reached a clientele who requested to buy his works through different channels.
In 1985 he exhibited his works for the first time in Seville. He also took part in various exhibitions of art and in international competitions.
Nowadays, his works are present in different countries in Europe, America and in the Asiatic continent.
Since my professional role in the world of art is not being a critic, it is difficult for me to express in writing my feelings regarding this work, as creation itself is the true form of direct expression that we all know. In any case, it is a current standard to make comments and criticism among ourselves. However, on this occasion, I do it with great pleasure from my good friend and colleague PABLO, who has always been dignified for his praise of other people’s work and who generously values external things.
The configuration of his works encourages to both the knowledge of the good work technique and the thematic content.
These extraordinary capacities have been accomplished through his perseverance and his spirit of research. Someone as beloved as him for his art and human behaviour receives these gifts in a natural way.
From my part, and much more, I can only congratulate myself for his successes in this passionate journey of art, whose magic confines the complexity of the creativity world.
Painting is basically a tribute to light. Painting does not exist without luminosity. Darkness is the negation of colour. In that sense, the search for the light from the South is always a longing for painters. The colour contrasts that the zenithal light creates flow into ascending and descending scales, from the east to the west. A wide range of colours and a fleeting, although timeless development of light and shadow. It is there that painting was born. But Landy, with his undeniable virtuosity for capturing the colour spark of an illuminated landscape, will not limit himself to the impersonal, mimetic reproduction of a landscape. For him, nature is nothing without the presence of the human being. A human presence that this painter does not search in a fictitious situation, but in a real, primal communion between nature and the human being.
Landy’s paintings are created with a chromatic, illuminating sense. Gold, white and carmines are his favourite colours, the ones which are more useful for him in order to intone his compositions, which are basically carried out through the correct configuration of points of light.
However, few critics have seen -and this is one of his most indisputable achievements- the compositional importance that shadows have: they frame a figure or revitalize a landscape, as a plastic projection of an image.
To which school can we ascribe Pablo’s work? At first glance, we could relate him to Sorolla, inasmuch his works are full of light, immersed in light, but have not a luminist style. In this sense, PABLO could be an impressionist painter, since his work appears to us as an analysis of light through colours.
However, immediately, we see that the figures arising under the charm of this light appear as modelled, without that Mediterranean glimmer in which forms come apart and the colours are defined in improvised touches. Diction, here, is stronger, and things -especially figures- are offered with a more realistic body.
Well then, precisely for this reason, for the detailed relationship of each of the parties to the whole, is why we should include Pablo within this new realism that has expanded the penultimate Sevillian school, for which the world is a detailed event that we have to retain as a testimony. It does not matter if he alternates his chronicle of the immediate reality with evocations, or if -as Furtuny, as Matisse did later- he feels attracted to the colours of the Arab world.
We can say that PABLO is a paradigm within this type of painting, so systematically underestimated by critics as it is valued by the public. A painting in which everything is beautiful and perfect, both in what refers to its subject as well as its execution.
A painting, to sum up, that cannot be criticised, which is the result of an eye that knows how to see the beauty in things and create it on the canvas, the work of a serious painter whose mastery of technique is complete.
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|Member since:||November 10, 2016|
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|Rest of Europe||$86.95|
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