Love for paint
“I like the loose, cool touch”. And me. “I think in the nineteenth century Spanish painting there are real jewels.” Of course. “Madrazo, Moreno Carbonero, the Pradilla …! What artists! “Of course, certainly they are fantastic.
Thus, the paths of the claim and the ways of the matches he spent part of the conversation we had Ricardo Sanz and once referred to his current paintings, for this exhibition and others who claimed my gaze – “Son of years, how time flies! “- A deserted beach, a self-portrait, a charcoal drawing … Grata morning.
Like his painting, Ricardo Sanz politely welcomes the calm looks, fluid gestures, gentle opinions, drawing smile recognition. His artistic world is populated exclusively by their preferences, figure, portraits, genre scenes, landscapes and cityscapes he admires.
Those solid foundations of his youth learning today hold more than and confidence its own characteristics for drawing, for the distribution of masses of color, for the treatment of light and dark, to the shaping of affairs, for the procedure , for accurate, comprehensive and secure oil and deploy the looseness of brushwork that never leaves her employment.
The current look is usually the the rough zum: appreciating the fragment, which slims, insulates and abstracts. So, we appreciate before painting it painted. The figurative work left to rest its representative interest and gives way to the enhancement of the stroke, the polar game of chromaticism, the tonal modulation, fields of color and dimensions that surprise us. In the total area of canvas, the current look and framing narrows areas and creates boundaries that keep us from the reasons, issues and themes to approach as maximum expressive gestures to plastic values.
Before Ricardo Sanz oils can also exercise that look and let a scroll and other areas appreciating their choices and execution, and enjoying the refined knowledge of the author.
One of the important in painting Sanz features is its good plastic understanding with the pleasant atmosphere, which is aimed at an educated amenity, a certain charm: choice that combines the seriousness of an issue, as the first official portrait Princes of Asturias, for example, and the seductive treatment walking back and forth the canvas, with an ever-wise cultivation of the effects and emotions, to make us share his own willingness to smile, the charm, the tradition that brings its surprises, its clarity and its precise artistic balance.
– Carmén Pallarés –
LOVE FOR PAINT
The first time I went to an exhibition of this magnificent donostiarra painter, was for me as breathing a breath of fresh air. A painting to enjoy.
Sanz painting brings us back to enjoy the beauty, it brings us back to vibrate with art, without submissions to modismos out of date.
His canvases discover us clean landscapes fraught with feelings and children’s nostalgia, with golden beaches by evening lights, with gardens where violets
and blue are torn by shreds of a broken sun through the leaves.
His fluid rainy landscapes invite us to walk under an umbrella, breathing the moist breath of romantic walks in your city.
In addition to the landscape, Sanz admires and dominates the human figure, as a renaissance of our time. When you paint those casual compositions, he shows his mastery, his strength and his character, wrapping his work of poetic touches.
Contemplating his portraits, it is when I was immersed in greater admiration.
Not surprisingly it has become one of the most important portraitists, requested by the great personalities of our society. It highlights the great portrait done to Queen Sofia, or who painted the Prince of Asturias.
His psychological insight and elegant brushstrokes models bring out the more positive side, submerging his work in an atmosphere of naturalness.
It is in children’s portraits where it moves with more pleasure, wrapping his figures tenderness and colorful reminiscent of Sargent or Lazslo, with a modern and vibrant brushwork, wanting to stop time in those wonderful years of childhood.
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