Alfredo Montaña (Oviedo, Asturias, 1945)
Historian of art by the University of Salamanca, he has not ceased to amaze with his painting since he discovered his true vocation and stated for the first time in 1968 in Leon. The different topics that go from the still life, bullfighting, the seasons or the music, show a powerful and unmistakable style where the daring colors of his painting did not cease to amaze. His work is a full mosaic of characters with eyes that are torn, pensive, sad or challenges within geometric
shapes that speak even though their mouths always show closed.
Hearth beet and purity of Interior Mountain’s painting of Melancholy, Interiors of desolation, truths, impossible feelings in the purity of the straight line, in the hardness of the edge, the angle, the cut spaces, in the painting of Alfredo Montaña, are the alibi of tenderness for not to betray.
It is not coffee interiors what Mountain paints, there are closed areas or closed doors. Or they are not only that. They are the interiorities of human
Being son the fringes of the hell of their identity hard shared penalties. So isolated, they are about to become dolls or statues.
That is, Alfredo Montaña extracts from the human condition a pictorial reason, from its atmosphere psychologist, its plastic nature. Here is the secret of a painter: transubstantiate in the matter of painting the drives of the spirit. That these are manifested or live around the cold table
coffee, a checkered table or a bar floor or on the seats of a suburban train, it matters little. It implies that it is, above all, strictly, pictorial structure, language plastic, movement and sedimentation of forms, geometrization of the soul. And disciplined subject of color lines. Color in the Mountain painting. The blaze of the most intense blues, the languor of pale blues, ochres, earthy greens, faded roses, grays amaromenados, some black tenue and solitary: defenseless. A well-tiled melody, like the trembling beating of the dead violins, which Mountain paints. And the sensuality of geometry in his women, carnality of geometrized bodies. The careful arrangement of planes, the definition aristotle of the bodies, does not kill the sensual impulse that emanates from these legs, those glutes that cannot deny their adorable sphericity, the attraction of the curve. Like geometris, do not renounce the painful silence of these men.
The key to Mountain painting is the rigor of composition. And despite the dissociative treatment, the objects and the people, are integrated in the whole of the picture with a strong associative condition. The lucid disposition of all the elements of the picture leads to the immutable perfection of beauty.
I would hail from that coldness of mathematical formula, that crude objectual analysis, were it not for the fact that, deep down, a deep existential breath dwells in it. Equilibrium of forms, empire of perfection, for the imbalance of emotions. Or lack of emotions; Servitude of the pure painting that is the way to express emphatically the creative freedom. Beings stripped of heart and searching for a heartbeat. There is in these pictures what there must be, above humanistic or philosophical considerations of existence: planes, arrangement of plastic rhythms, harmony or dissociation of colors, language, pictorial language; A world of intelligent perceptions oriented to pure painting.
Escritor y crítico de arte “El Mundo”.
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