Dear Readers:
I think that this time, the contents of this article will be one of those where it will be controversial, impede the consensus of opinion among those who read this blog regularly, then I'll talk about the work of an artist is that for some a master, while for others, someone who estimable while a worker, his work reaches a level of emergency in art, also showing some deficiencies in the way issues of implementation of the technique, but nevertheless, it has managed to skillfully exploit the "luck" and good contacts, to be able to get to their jobs, a significant popularity in our city in recent years.
Since I started this blog, in June 2009, I have always tried to be faithful and entirely consistent with my understanding of art, fortunately, there have been many articles that have enjoyed the satisfaction of you, highlighting Above all, the clear and direct way to assess the works (not the authors) and my critical position towards some aspects of management that takes place in the cultural politics of our city, something that moreover, it was not possible to see from the critics of Castellon to the appearance of this blog and despite the time elapsed, is still lacking, is therefore that the risk of not doing more bitter taste and my relationship with my detractors, I have also, but who does not give greater importance as to note that this is only my opinion, and he who does not know it, not have enough to read me, today I come to talk about the work of Mr. Melchor Zapata (Alcolea del Río, Sevilla - 1946) which is displayed in the main hall of the Provincial Cultural Centre "classrooms."
Many times I have read in some interviews that have been made to this artist, he feels more painter than sculptor. Obviously we can not measure feelings with objectivity and accuracy, and for this reason, one can feel as a painter, sculptor, musician, genius and even astronaut if you want, and nobody could argue that objectivity in subjective realm of feelings if that's true or not, but on the other hand, we can estimate with some accuracy and correction The results that we achieved in the work we do, and here I have to say, in both artistic disciplines (sculpture and painting) the results of Mr. Zapata, are not in correspondence with what may be expected, someone who is considered a master, as no doubt reflect certain aspects of deficiency, not only in the artistic discourse (between Tombatossals lately, "the Arrancapins" and "bufanúvols" guarantees the mythological bread) if not also in the way of attacking.
iconographic Hidden behind the scene of Expressionism, there have been many "artists" (including also think that Mr. Zapata) who have found an ideal setting to hide their technical limitations and trade, and thus try link to an intention "conceptual" paradoxically far from the proposal set out by the distant Germanic art. The expressionists taken first to the aesthetic academicians of his era, distorting, blurring the styling and shape, in order to find a feeling that endorse a discourse intimate and touching, seeking the public's thinking about a reality that is increasingly cruel and inhuman, but obviously not by a clear expression of technical failure, or put another way, the expressionist artist looking at a means of transmitting color his expressive message, and fades from the knowledge of the way, because they put too much content of their speech, a faithful representation of the object, but not the technical default. The same applies to the real abstract painter who, thanks to his mastery of composition and technical course, prefer to communicate (preferably with a more specialized audience) through the unique language of painting and not think the neophyte amateur, which is their inability to do things "well done", considering always the wrong way, as an expression or easy way of doing things, maybe this is one of the reasons that abound in some circles " artists' and young hopefuls chaotic and aberrant many painters who call themselves as "abstract", arguing its wrong way of doing, the key to be "modern" but in reality, what we really are bad painters, impersonators of roads and resources and beaten by others, drinking from the surfaces of things, and drowning in the mediocrity that fosters snobbery of the time.
But back to Mr., Zapata and his particular "expressionism."
Another element of excitement or action of the speech, he used the Expressionist movement in early twentieth century was the use of color, both in a friendly, almost decorative as they did in France under the name of Fauvism or greyish, dull and melancholy who led the German artists. But in any case the use and management of color in the hands of both groups (French and German) denote a broad domain of chromaticism in the work and not a basic concept of primary (mainly the abuse of red color) and appreciate Zapata in the tables that the view is, or that much likes the color, or at the time took a good deal and bought a large batch that lasts until today.
Another source also mentioned by some critics of Castellón, in the articles on this artist and who also appreciate the paintings in this exhibition, is the use of his brushwork, which they (critics) the qualifying of great fluency and expressiveness, there is no denying that an assessment of this kind involves a noble act of kindness, but also of great irresponsibility and ignorance. Taking into account that in a figurative painting (such as) a loose brush, is one that can not walk away and never exactly match the shape of the object to be represented, 
and to the extent that the artist is skilled enough and resolved with little touches that object resources (whatever it) will be in the presence of a result loose, energetic, virtuous and more expressive, a good example of this is when Oskar Kokoschka (second image of the paragraph) is able to construct a human figure with broad strokes, without altering the essence of the object and showing him, his clear and direct representation, and even psychological, then we are talking about freedom, strength and virtuosity in the treatment. When we look at the gesture of a painter, a clear act of building (including destruction) then 
be talking about freedom, strength and virtuosity of the stroke. On this occasion the master stroke of Zapata me imprecise, careless and rude, where far to build, caricatures and destroys the color, where more than scribbles on a canvas painting, achieving a result more like a bad example of bad painting ( bad paint) where we found very good painters such as Jean-Michel Basquiat, Julian Schnabel André Buster or the latter, with its original collage made from broken dishes, (third image of the paragraph) that certainly has more grace and talent that the paintings in this exhibition.
To conclude, I would say that apparently seen, may be more advisable for all (politicians, critics and authors) down from the heights and put everyone in the place and where it belongs, thus, it would make a healthy and clear exercise of humility, consistency and objectivity in our evaluations. Because if you get used to call genius, teachers, and elevate those like Mr. Zapata (although not alone) have such gaps in his work, and also believe, (not to say that it is created) then few adjectives we would to assess and highlight the work of those, with a smaller firm, but with much more quality in their work, they are worthy to be considered as such and not fall into such regrettable and serious injustice to those who deserve it, and Moreover, it would be pathetic and shows the ignorance of those who exalted and also says he believes it and accepts it.
Despite the above, I recommend you all to visit the exhibition of his paintings, which will remain open until March 19. A visit to an art room is always constructive although make sure it is right or wrong, we like it or not, and in the case of that related to the specialty groups, to know what we can or should not do. No doubt a great responsibility for setting out, it hurts that some "artists" this does not take into account more often, because in this way would not do much harm to art and culture.
to the next installment. Amaury Suárez
I think that this time, the contents of this article will be one of those where it will be controversial, impede the consensus of opinion among those who read this blog regularly, then I'll talk about the work of an artist is that for some a master, while for others, someone who estimable while a worker, his work reaches a level of emergency in art, also showing some deficiencies in the way issues of implementation of the technique, but nevertheless, it has managed to skillfully exploit the "luck" and good contacts, to be able to get to their jobs, a significant popularity in our city in recent years. 
Since I started this blog, in June 2009, I have always tried to be faithful and entirely consistent with my understanding of art, fortunately, there have been many articles that have enjoyed the satisfaction of you, highlighting Above all, the clear and direct way to assess the works (not the authors) and my critical position towards some aspects of management that takes place in the cultural politics of our city, something that moreover, it was not possible to see from the critics of Castellon to the appearance of this blog and despite the time elapsed, is still lacking, is therefore that the risk of not doing more bitter taste and my relationship with my detractors, I have also, but who does not give greater importance as to note that this is only my opinion, and he who does not know it, not have enough to read me, today I come to talk about the work of Mr. Melchor Zapata (Alcolea del Río, Sevilla - 1946) which is displayed in the main hall of the Provincial Cultural Centre "classrooms." 
Many times I have read in some interviews that have been made to this artist, he feels more painter than sculptor. Obviously we can not measure feelings with objectivity and accuracy, and for this reason, one can feel as a painter, sculptor, musician, genius and even astronaut if you want, and nobody could argue that objectivity in subjective realm of feelings if that's true or not, but on the other hand, we can estimate with some accuracy and correction The results that we achieved in the work we do, and here I have to say, in both artistic disciplines (sculpture and painting) the results of Mr. Zapata, are not in correspondence with what may be expected, someone who is considered a master, as no doubt reflect certain aspects of deficiency, not only in the artistic discourse (between Tombatossals lately, "the Arrancapins" and "bufanúvols" guarantees the mythological bread) if not also in the way of attacking. 
iconographic Hidden behind the scene of Expressionism, there have been many "artists" (including also think that Mr. Zapata) who have found an ideal setting to hide their technical limitations and trade, and thus try link to an intention "conceptual" paradoxically far from the proposal set out by the distant Germanic art. The expressionists taken first to the aesthetic academicians of his era, distorting, blurring the styling and shape, in order to find a feeling that endorse a discourse intimate and touching, seeking the public's thinking about a reality that is increasingly cruel and inhuman, but obviously not by a clear expression of technical failure, or put another way, the expressionist artist looking at a means of transmitting color his expressive message, and fades from the knowledge of the way, because they put too much content of their speech, a faithful representation of the object, but not the technical default. The same applies to the real abstract painter who, thanks to his mastery of composition and technical course, prefer to communicate (preferably with a more specialized audience) through the unique language of painting and not think the neophyte amateur, which is their inability to do things "well done", considering always the wrong way, as an expression or easy way of doing things, maybe this is one of the reasons that abound in some circles " artists' and young hopefuls chaotic and aberrant many painters who call themselves as "abstract", arguing its wrong way of doing, the key to be "modern" but in reality, what we really are bad painters, impersonators of roads and resources and beaten by others, drinking from the surfaces of things, and drowning in the mediocrity that fosters snobbery of the time. But back to Mr., Zapata and his particular "expressionism."
Another element of excitement or action of the speech, he used the Expressionist movement in early twentieth century was the use of color, both in a friendly, almost decorative as they did in France under the name of Fauvism or greyish, dull and melancholy who led the German artists. But in any case the use and management of color in the hands of both groups (French and German) denote a broad domain of chromaticism in the work and not a basic concept of primary (mainly the abuse of red color) and appreciate Zapata in the tables that the view is, or that much likes the color, or at the time took a good deal and bought a large batch that lasts until today. 
Another source also mentioned by some critics of Castellón, in the articles on this artist and who also appreciate the paintings in this exhibition, is the use of his brushwork, which they (critics) the qualifying of great fluency and expressiveness, there is no denying that an assessment of this kind involves a noble act of kindness, but also of great irresponsibility and ignorance. Taking into account that in a figurative painting (such as) a loose brush, is one that can not walk away and never exactly match the shape of the object to be represented, 
and to the extent that the artist is skilled enough and resolved with little touches that object resources (whatever it) will be in the presence of a result loose, energetic, virtuous and more expressive, a good example of this is when Oskar Kokoschka (second image of the paragraph) is able to construct a human figure with broad strokes, without altering the essence of the object and showing him, his clear and direct representation, and even psychological, then we are talking about freedom, strength and virtuosity in the treatment. When we look at the gesture of a painter, a clear act of building (including destruction) then 
be talking about freedom, strength and virtuosity of the stroke. On this occasion the master stroke of Zapata me imprecise, careless and rude, where far to build, caricatures and destroys the color, where more than scribbles on a canvas painting, achieving a result more like a bad example of bad painting ( bad paint) where we found very good painters such as Jean-Michel Basquiat, Julian Schnabel André Buster or the latter, with its original collage made from broken dishes, (third image of the paragraph) that certainly has more grace and talent that the paintings in this exhibition. 
To conclude, I would say that apparently seen, may be more advisable for all (politicians, critics and authors) down from the heights and put everyone in the place and where it belongs, thus, it would make a healthy and clear exercise of humility, consistency and objectivity in our evaluations. Because if you get used to call genius, teachers, and elevate those like Mr. Zapata (although not alone) have such gaps in his work, and also believe, (not to say that it is created) then few adjectives we would to assess and highlight the work of those, with a smaller firm, but with much more quality in their work, they are worthy to be considered as such and not fall into such regrettable and serious injustice to those who deserve it, and Moreover, it would be pathetic and shows the ignorance of those who exalted and also says he believes it and accepts it. 
Despite the above, I recommend you all to visit the exhibition of his paintings, which will remain open until March 19. A visit to an art room is always constructive although make sure it is right or wrong, we like it or not, and in the case of that related to the specialty groups, to know what we can or should not do. No doubt a great responsibility for setting out, it hurts that some "artists" this does not take into account more often, because in this way would not do much harm to art and culture. to the next installment. Amaury Suárez
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