As the progress of my own paintings goes slowly, I take the opportunity to show you some of my favorite artworks. The one I present here is called “Noli me tangere” and is a work by the Italian painter Correggio (1493-1534) that is exhibited in the permanent collection of the Prado Museum.
The reasons why this painting is among my favorites are mainly its diagonal composition, the delicacy with which Christ is painted and the handling of the greens and blues in the landscape. It is one of these paintings that seem impossible to you… How can someone paint like that?
Finally, comment also that the “Noli me tangere” means “Do not touch me, which are the words that Jesus addresses Mary Magdalene when she meets the risen Jesus (she was the first.) Specifically what the Bible says ( San Juan, 20, 15-17) is:
He asked her, “Woman, why are you crying? Who is it you are looking for?” Thinking he was the gardener, she said, “Sir, if you have carried him away, tell me where you have put him, and I will get him.”esus said to her, “Mary.” She turned toward him and cried out in Aramaic, “Rabboni!” (which means “Teacher”).Jesus said, “Do not hold on to me, for I have not yet ascended to the Father. Go instead to my brothers and tell them, ‘I am ascending to my Father and your Father, to my God and your God.'”
Well, and if you can visit the Prado Museum do not forget to take a look at this beauty. Also if you want you can see the picture inside the website of the museum itself. I give all of you a link to the route with my favorite pictures of the Prado Museum where, of course, you can also find this Correggio: http://bit.ly/2BabviL
The series Patinir began when I was working on the painting “The well of the destiny“, a work on table of small dimensions in which the personages see reflected in the water of a well its own end.In this painting the expression of each one of the protagonists was analyzed: Hope, Fear, Shame, etc.That picture was one of the few in which from the first sketches on the table appeared a landscape behind the characters.
It is true that I had painted landscapes in my pictures but they were more concise, simpler, more Dalinian than Flemish so to speak.
Looking for inspiration for this painting I came across the work of Patinir. It was a surprise that I told so in my diary:
“Today was the day of the discovery of a Flemish painter who, despite the exhibition that the Museo del Prado did to him in 2007, I did not know: Patinir. I was totally stunned with his “Landscape with San Cristobal”. I have been able to see the black and white picture and observe the brutal handling of values. This impression made me modify the sky of “The Well of destiny”, having Patinir’s skies in mind, trying to get closer to them. “
From that moment I began to investigate about the work of the Flemish master and I tried to make my landscape gain in depth, that appeared different strips that like steps to organize mountains and meadows to the horizon.
The next picture in the series was “Waterfalls”. This picture, the product of an image in a dream, also presented an indecisive landscape in its first sketch, the most automatic, which had a more recent impression of the dream image.
However, with the second sketch, with the reasoning, the landscape was again gaining depth, acording to Patinir. And the same with the third that was a watercolor note.
When I passed the painting to the oil, the landscape was detailing and gaining in importance.
Something similar happened with the following picture in the series: “Geometric inquietude”. As is indicated in the title, initially the painting was posed following a very rigid geometric pattern as background. I had experienced this idea in two previous watercolors: “Proportions” and “Footprints” and I was prepared to do the same in this new oil painting.
However, as the work progressed, the landscape prevailed to the geometric pattern.
Subsequently came “Nothing at all”, a picture in a format identical to that of “Geometric inquietude” and with the same intentions. It was different here, although I was not yet aware of the existence of a series, I intuitively knew that I was going to experiment with the same scheme. This is reflected in the beginning of the oil painting, where the traces of the background landscape already appear.
The final result included a field populated with flowers in the foreground, a small island with a castle in the background and a cloud of birds.
I began the later works of the series thinking already in that infinite landscape in the background. The next one I started and that ended before “Geometric Inquietude” and “Nothing at all” was the watercolor “Ulysses and Penelope“. In this case the landscape was a little different from the previous ones and a great rock where the personage of Ulysses was sitting gained in importance.
Later I began with “Estis dimanĉo“, a painting with a title in Esperanto (It was Sunday). In this case I divided the painting into three clear parts and I also started with a landscape of the type of the previous ones.
Before finishing “Estis dimanĉo”, I started another picture of the series that I finished first. It was “Andromeda“. In Andromeda appeared a tree in the foreground that completed the composition.
The promised land is the last project I’m working on. It started from a blurry image I had while I was sleeping. The sharpest part of the image was a somewhat grotesque and red-nosed character, a mixture of clown of horror film and creature of the Goya’s Caprichos. This figure seems to be parading in front of a group of people and behind them appeared a landscape of countryside, with a distant horizon.
As I usually do in these cases, the next day I tried to sketch the idea: