Dear Readers:
occasion of the celebration of international day working women, on 8 March was opened to the public in Room Castellón Bancaja Abbey, located in Grass Plaza s / n, an exhibition entitled "What paint women?". An exhibition featuring the unique Comba Group 10, composed entirely of women dedicated to the creation in the arts, and this time pay due tribute to those painters who covers the history of art.
With a clear interest in claiming the role of women in the field of art, the group composed Comba Rosana 10 Asensio, M ª Carmen López Olivares, Sara Lloret, M ª Carmen Aldás, Pilar Edo, Maria Griñó, Agustina Ortega, Eloisa Aldás, Tere Colomé y María Olmeda, nos presenta un amplio y variado abanico de diversas iconografías de artistas femeninas, que han estado presente en la historia del arte desde los tiempos del Alto Renacimiento Italiano, hasta la época actual y que en esta muestra, conviven en esa intención de recreación “dual” entre la obra de la pintora homenajeada y la interpretación de la que le rinde el tributo. En la exposición cada pieza (cuadros, instalación y fotografía) está acompañado de un panel donde se reseñan los datos biográficos de la artista homenajeada, así como algunos aspectos de interés de su carrera artística y personal, lo cual aporta y refuerza educational and instructive nature of the sample and adds a plus in their communicative value to the public. Merging into a single result, where the use of ownership (at least in the idea of \u200b\u200bthe speech) is present and where in some cases, the result gives the plastic work of great interest, both in concept, and the invoice work, (but always with some exceptions). It may be timely opportunity for the group to rethink the concept of unity, rather than surface issues affinity character or gender, by focusing on quality and seriousness that each member undertakes his work and projects, because that form, will be the only thing contribute to greater professionalism, interest and value of the group. It would be nice play down the "10" group Comba two or three digits, in order to deliver more with less, (but this is just a suggestion).
Although this exposure could praise its staging, and even his noble intention to claim the valuable role he has played for so long women in various activities of life, this exhibition is a good example that shows that of good intentions is paved the road to hell. On the other hand, from the point of view of art this is not sufficient, as this is the stage where thanks to undeniable harmony between content and form, can be sublime ideas. But in this show there are clear examples (to which I shall refer below) that show us that even very valid in their aims and intentions, leave much to be desired in the way they run, which is detrimental to the overall quality of all in this exhibition in particular and the whole group.
exposure from left to right ...
From simple and very schematic view could be considered Rosana Asensio presents the work of Lavinia Fontana, where we see a dangerous approach to an outcome that the simple and cartoonish strokes in form, making disservice to the refined technique of the artist from Bologna. Perhaps it was the rush causing this result, or simply lack of interest in delving deeper into the subject, do not know, but it is clear that on this occasion, Rosana has not lived up to such exquisite Italian painter since the cot stroking the rigor of the trade with the example of his father, the great painter Prospero Fontana.
M ª Carmen López Olivares ventures into the work of Artemisia Gentileschi and Sofonisba Anguissola in a beautiful diptych of intent surreal, wherein the composition is broken and the color is the main character. Its result is very beautiful and high quality, you can not deny that feel very comfortable moving into these baroque atmospheres where the lights and shadows give the result of exquisite beauty.
M ª Carmen Aldás with the work of Mary Cassatt made a somewhat child, both the elementary use of color, for the simplicity of the design that uses, transforming the beauty of the original work (based only the reason is in the domain and strength of color) in a more simple, "beautiful" and very decorative.
with safe passage and set to a language that characterizes him, Maria Griñó recreates a work of Suzanne Valadon. Griñó not risk solutions and experiments that are not related, he prefers to make its way and way of thinking about painting and that is appreciated, because although we may remember the work of Suzanne Valadon, we will present a picture of Maria Griñó.
Sara Lloret in their work based on that of Tamara Lempicka, tells us about the color, the broad textural appeal before it, the ability to express in turn the reason for the referral, in a more proper and staff, providing of good quality and breadth of plastics resources. Although inspired by Lempicka, Sara Lloret shows one's own work, personality, strength and beauty that places it among my favorites.
not so lucky in the outcome Agustina Ortega, his work inspired by the Mexican painter Frida Kahlo, for which there is only a simplistic and superficial mention of the topic, part of a resource misuse of collage, rather than queuing or adhesion, is a "blob." His work is sloppy, crude and poor bill, but above all it is, the Manichean and elemental in his speech (for Frida Mexican shield for the Agustina de Castellón) as if the whole world anxious Mexican surrealist simply be reduced a national symbol, and if this does not have enough "straw" in the box, filled it with phrases and ideas, which both have become repeated topicazos of we've all heard of, but nobody knows what they mean, and if not, atenednos to what is in view. To finish just say as a compliment, that Ortega did not go heavily favored in his own portrait, if not modesty, or lack of knowledge in the drawing.
Moreover Pilar Edo invites from his work, inspired by the Hispano-Mexican painter Remedios Varo, to enjoy the vast resources of the printing, collage and the accident, making a very rich result plastic resources that goes beyond the typical illustrator Varo's work to turn it into a more plastic and experimental. Under an iconography of disturbing "surreality" allows us to see their capacity to provide personnel on the ground for reference.
Teresa Colomer presents a work inspired by the work of Susan Rothenberg New York artist of undeniable artistic value, the texture is already part of his label and is something that the local artist has been maturing for some time, but This time I do not think there is a correspondence with the painter in question, not just their iconography are different, but the speech he professed in his works. Colomer composition based on the hegemony of the cuts on the canvas, the more the spatial links of Lucio Fontana, which Rothenberg. Contemporary although sometimes confusing and impenetrable, also has its own rules and personalities and demands of us more culture and information to know and respect.
This time I do not think any successful piece of Maria Olmeda, then reduce the undisputed, "self-flagellating" deep conceptual richness found in the work of Gina Pane, the facility that he proposes is little more than an insult to the intelligence, more characteristic of a window decoration for cheap products, with a vase and red flowers wither and razor blades scattered on the ground, shows little respect for art and more than a homage to such an outstanding artist it could be considered as an offense. No doubt a clear example of how superficial to see and understand contemporary art that have some, when in fact he (contemporary art) is conditioned by the complex learning of his approach, he was forced at times to drown in the secrecy of his own speech, but that, to be recreated in surface size. Olmeda clear that he has to worry about, I do not know Gina Pane of this exhibition and especially (weight ratio greater than) that art note their absence since 1990.
To complete the picture of Eloisa Aldás linked to the work of Dorothea Lange I think in your proposal, not only painfully "beautiful", if not quite in line with the intentions conceptual documentary chronicling the U.S. printed their own. As a good "disciple", Eloisa Aldás intended to show the path of their intentions with this example that testifies to the harsh reality of chronic contained heartbreaking.
I encourage you all to attend to see this diverse group sample Comba10. The exhibition will remain open until April 3.
to the next installment
Amaury Suárez
occasion of the celebration of international day working women, on 8 March was opened to the public in Room Castellón Bancaja Abbey, located in Grass Plaza s / n, an exhibition entitled "What paint women?". An exhibition featuring the unique Comba Group 10, composed entirely of women dedicated to the creation in the arts, and this time pay due tribute to those painters who covers the history of art. With a clear interest in claiming the role of women in the field of art, the group composed Comba Rosana 10 Asensio, M ª Carmen López Olivares, Sara Lloret, M ª Carmen Aldás, Pilar Edo, Maria Griñó, Agustina Ortega, Eloisa Aldás, Tere Colomé y María Olmeda, nos presenta un amplio y variado abanico de diversas iconografías de artistas femeninas, que han estado presente en la historia del arte desde los tiempos del Alto Renacimiento Italiano, hasta la época actual y que en esta muestra, conviven en esa intención de recreación “dual” entre la obra de la pintora homenajeada y la interpretación de la que le rinde el tributo. En la exposición cada pieza (cuadros, instalación y fotografía) está acompañado de un panel donde se reseñan los datos biográficos de la artista homenajeada, así como algunos aspectos de interés de su carrera artística y personal, lo cual aporta y refuerza educational and instructive nature of the sample and adds a plus in their communicative value to the public. Merging into a single result, where the use of ownership (at least in the idea of \u200b\u200bthe speech) is present and where in some cases, the result gives the plastic work of great interest, both in concept, and the invoice work, (but always with some exceptions). It may be timely opportunity for the group to rethink the concept of unity, rather than surface issues affinity character or gender, by focusing on quality and seriousness that each member undertakes his work and projects, because that form, will be the only thing contribute to greater professionalism, interest and value of the group. It would be nice play down the "10" group Comba two or three digits, in order to deliver more with less, (but this is just a suggestion).
Although this exposure could praise its staging, and even his noble intention to claim the valuable role he has played for so long women in various activities of life, this exhibition is a good example that shows that of good intentions is paved the road to hell. On the other hand, from the point of view of art this is not sufficient, as this is the stage where thanks to undeniable harmony between content and form, can be sublime ideas. But in this show there are clear examples (to which I shall refer below) that show us that even very valid in their aims and intentions, leave much to be desired in the way they run, which is detrimental to the overall quality of all in this exhibition in particular and the whole group.
exposure from left to right ...
From simple and very schematic view could be considered Rosana Asensio presents the work of Lavinia Fontana, where we see a dangerous approach to an outcome that the simple and cartoonish strokes in form, making disservice to the refined technique of the artist from Bologna. Perhaps it was the rush causing this result, or simply lack of interest in delving deeper into the subject, do not know, but it is clear that on this occasion, Rosana has not lived up to such exquisite Italian painter since the cot stroking the rigor of the trade with the example of his father, the great painter Prospero Fontana. 
M ª Carmen López Olivares ventures into the work of Artemisia Gentileschi and Sofonisba Anguissola in a beautiful diptych of intent surreal, wherein the composition is broken and the color is the main character. Its result is very beautiful and high quality, you can not deny that feel very comfortable moving into these baroque atmospheres where the lights and shadows give the result of exquisite beauty. 
M ª Carmen Aldás with the work of Mary Cassatt made a somewhat child, both the elementary use of color, for the simplicity of the design that uses, transforming the beauty of the original work (based only the reason is in the domain and strength of color) in a more simple, "beautiful" and very decorative. 
with safe passage and set to a language that characterizes him, Maria Griñó recreates a work of Suzanne Valadon. Griñó not risk solutions and experiments that are not related, he prefers to make its way and way of thinking about painting and that is appreciated, because although we may remember the work of Suzanne Valadon, we will present a picture of Maria Griñó. 
Sara Lloret in their work based on that of Tamara Lempicka, tells us about the color, the broad textural appeal before it, the ability to express in turn the reason for the referral, in a more proper and staff, providing of good quality and breadth of plastics resources. Although inspired by Lempicka, Sara Lloret shows one's own work, personality, strength and beauty that places it among my favorites. 
not so lucky in the outcome Agustina Ortega, his work inspired by the Mexican painter Frida Kahlo, for which there is only a simplistic and superficial mention of the topic, part of a resource misuse of collage, rather than queuing or adhesion, is a "blob." His work is sloppy, crude and poor bill, but above all it is, the Manichean and elemental in his speech (for Frida Mexican shield for the Agustina de Castellón) as if the whole world anxious Mexican surrealist simply be reduced a national symbol, and if this does not have enough "straw" in the box, filled it with phrases and ideas, which both have become repeated topicazos of we've all heard of, but nobody knows what they mean, and if not, atenednos to what is in view. To finish just say as a compliment, that Ortega did not go heavily favored in his own portrait, if not modesty, or lack of knowledge in the drawing. 
Moreover Pilar Edo invites from his work, inspired by the Hispano-Mexican painter Remedios Varo, to enjoy the vast resources of the printing, collage and the accident, making a very rich result plastic resources that goes beyond the typical illustrator Varo's work to turn it into a more plastic and experimental. Under an iconography of disturbing "surreality" allows us to see their capacity to provide personnel on the ground for reference. 
Teresa Colomer presents a work inspired by the work of Susan Rothenberg New York artist of undeniable artistic value, the texture is already part of his label and is something that the local artist has been maturing for some time, but This time I do not think there is a correspondence with the painter in question, not just their iconography are different, but the speech he professed in his works. Colomer composition based on the hegemony of the cuts on the canvas, the more the spatial links of Lucio Fontana, which Rothenberg. Contemporary although sometimes confusing and impenetrable, also has its own rules and personalities and demands of us more culture and information to know and respect. 
This time I do not think any successful piece of Maria Olmeda, then reduce the undisputed, "self-flagellating" deep conceptual richness found in the work of Gina Pane, the facility that he proposes is little more than an insult to the intelligence, more characteristic of a window decoration for cheap products, with a vase and red flowers wither and razor blades scattered on the ground, shows little respect for art and more than a homage to such an outstanding artist it could be considered as an offense. No doubt a clear example of how superficial to see and understand contemporary art that have some, when in fact he (contemporary art) is conditioned by the complex learning of his approach, he was forced at times to drown in the secrecy of his own speech, but that, to be recreated in surface size. Olmeda clear that he has to worry about, I do not know Gina Pane of this exhibition and especially (weight ratio greater than) that art note their absence since 1990. 
To complete the picture of Eloisa Aldás linked to the work of Dorothea Lange I think in your proposal, not only painfully "beautiful", if not quite in line with the intentions conceptual documentary chronicling the U.S. printed their own. As a good "disciple", Eloisa Aldás intended to show the path of their intentions with this example that testifies to the harsh reality of chronic contained heartbreaking. I encourage you all to attend to see this diverse group sample Comba10. The exhibition will remain open until April 3.
to the next installment
Amaury Suárez
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