Light and colour in Leonardo’s paiting , by José García Morales

NISPEROS CON CEREZASWrote Miguel Ángel Asturias of light, “the sacred light of the South”. Naturally the Chilean Nobel didn’t know, Leonardo – Leonardo Fernandez – because then I would have written, also the color. Light and color. Grace of God and life, the Magnificat in the work of this universal Malaga which leads to the paintings we see every day, but you look everywhere! It makes it art.

Because we can speak of an Andalusian patio. Water, flowers; pots and dilapidated walls, chips and taps, walls falling old pure,… the passage of life itself. Goes Leonardo brush and pull out it of the ordinary and elevates him and us about it and so we enjoy, do you like? – what makes us ask for hand; the ripe medlars, ahitas cherries, apples which could be the sin…

They are still unique, lush, full life. Distinguish from those of still life from the 17th because yours is life that accompanies, with which we passed to the revolver corner, in the fruit bowl of the House or, half-opened, the day, the breeze coming from the sea.

You know Leonardo pictures people. To white, houses of white girls who water the pots of flowers, in images that open a range of colours which combine history and tradition, coming from the Malaga school of the 19th, and interspersed, lets us see something of what peoples had yesterday and retain, even today.

Geranium and roses, poetry of Juan Ramón: “hope me the Roses / bathing his flesh” or Federico: “you next to the marble…” or Leonardo who leads them to the canvas when they have already given us your perfume, essence and, now, in the vase, give us the last beauty.

It is Leonardo at the time of maturity. It communicates with the spectator who is approaching. Tells him and wrapped him and, as the water that – the of the tap also- the Samaritan well, not only do not leave indifferent but that also exceeded, it quenches our thirst. Light, Holly light from the South and color in painting of Leonardo.

You enjoy it.

José García Morales.

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