Maria Jose Aguilar Gutierrez
04 Mar 10 by Maria Jose Aguilar Gutierrez
Maria Jose Aguilar Gutierrez artworks

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Reading Old Letters (Leyendo unas cartas viejas), 1999.

114 cm. Recalling the serenity contributed by our contemplation of what has gone on before, from the most personal intimacy, is the essence of this work, inspired by the sonnet of the same name by Portuense poet Jose Luis Tejada Peluffo now deceased, to whose memory it is dedicated. Leyendo unas cartas viejas. Published by P. A.C. (Sonnet)

November, Laurel and Jasmine (Noviembre, laurel y jazmín), 1998.
November, Laurel and Jasmine (Noviembre, laurel y jazmín), 1998.
November, Laurel and Jasmine (Noviembre, laurel y jazmín), 1998.

This work was conceived for the Official Doctors Association of the city of Seville, a commission which I could not complete. The doctor is always the hope of the patient. This painting represents a tribute to science and to the image of the doctor as the guardian of health.

Musical Solitude (Soledad musicada), 2000.
Musical Solitude (Soledad musicada), 2000.
Musical Solitude (Soledad musicada), 2000.

… ”By the immense sea of my soul.“ (Jesus Tejada Romero). It is not in vain that the size of the neck scroll of this beautiful viola recalls the bowsprits of ancient ships enmeshed in melancholy siren songs. The perishable existence of chestnut tree leaves appears to contrast with the enduring nature of the music, expressed in the score. The durability of a work of art versus the extinct life of the artist.

Triana, 1992.
Triana, 1992.
Triana, 1992.

The minting of this term to define the style of my painting production was due to the fact that the appearance of certain elements in each work is not fortuitous. Quite the contrary, they respond to a prior selection for exercise as mere keys to an internal proper language that lead to deciphering a message which seeks to go beyond amiable aesthetic contemplation. Thus dry leaves symbolise the inexorable passage of time, the end of all things earthly, the reliable result of a major Baroque influence. This concept is repeated in several works, for example: Premonition (Presentimiento), Reading Old Letters (Leyendo unas cartas viejas) or Musical Solitude (Soledad musicada). In the wood titled Rose, anecdotally the real name of the model, the petalless rose represents not only femininity and lost innocence, but also responds to a well- known phrase by poet Federico Garcia Lorca, "Youth is a rose that dies." The plant which appears in the right background, popularly known as Adam’s Rib, symbolises the masculine.

24 Jun 10 06:49

incredable beauty

The Party (La Fiesta), 2001
The Party (La Fiesta), 2001
The Party (La Fiesta), 2001

The female figure with the foreshortened face covers her back with a Manila shawl, apparel appropriate to festive occasions. Her head is adorned with a Peruvian lily. Given that bullfighters dream about "doing the Américas", where bullfighting fans are widely extended, it is the flower of success. The pendant of golden coins, symbol of the wealth one hopes to achieve, with neither heads nor tails, such as the death which is faced in every bullfight. Two bulls along both sides flank the figure: Talent scratches the Earth while Will, proud with its head raised high, watches the front, both virtues necessary for triumph.

Alhambra
Alhambra
Alhambra

Symbolic Realism The minting of this term to define the style of my painting production was due to the fact that the appearance of certain elements in each work is not fortuitous. Quite the contrary, they respond to a prior selection for exercise as mere keys to an internal proper language that lead to deciphering a message which seeks to go beyond amiable aesthetic contemplation. Thus dry leaves symbolise the inexorable passage of time, the end of all things earthly, the reliable result of a major Baroque influence. This concept is repeated in several works, for example: Premonition (Presentimiento), Reading Old Letters (Leyendo unas cartas viejas) or Musical Solitude (Soledad musicada). In the wood titled Rose, anecdotally the real name of the model, the petalless rose represents not only femininity and lost innocence, but also responds to a well- known phrase by poet Federico Garcia Lorca, "Youth is a rose that dies." The plant which appears in the right background, popularly known as Adam’s Rib, symbolises the masculine

05 Mar 10 19:41

Somehow I knew that cabeza was a proper artist with his process of unravelling particularities. Now he has a congenial campanioness (if that is the appropriate term). Now there are two masters (or better one master and one mistress) that are able to mine the personal in order to address and interrogate the ways in which the present is understood. The obvious meaning of dry leaves and other ancient hints will help drawing on the fictions of history and speculations on the future. So finally we can witness the ethics being invited to speak and being invited to listen. So a simple brush with a single hair on it can interrogate assumptions and opens the space between understanding and perception. It’s just amazing.

Remembering Granada (Recordando Granada), 2006.
Remembering Granada (Recordando Granada), 2006.
Remembering Granada (Recordando Granada), 2006.

Symbolic Realism The minting of this term to define the style of my painting production was due to the fact that the appearance of certain elements in each work is not fortuitous. Quite the contrary, they respond to a prior selection for exercise as mere keys to an internal proper language that lead to deciphering a message which seeks to go beyond amiable aesthetic contemplation. Thus dry leaves symbolise the inexorable passage of time, the end of all things earthly, the reliable result of a major Baroque influence. This concept is repeated in several works, for example: Premonition (Presentimiento), Reading Old Letters (Leyendo unas cartas viejas) or Musical Solitude (Soledad musicada). In the wood titled Rose, anecdotally the real name of the model, the petalless rose represents not only femininity and lost innocence, but also responds to a well- known phrase by poet Federico Garcia Lorca, "Youth is a rose that dies." The plant which appears in the right background, popularly known as Adam’s Rib, symbolises the masculine.

On Your Cape (De tu capote) (Unfinished), 2001.
On Your Cape (De tu capote) (Unfinished), 2001.
On Your Cape (De tu capote) (Unfinished), 2001.

Symbolic Realism The minting of this term to define the style of my painting production was due to the fact that the appearance of certain elements in each work is not fortuitous. Quite the contrary, they respond to a prior selection for exercise as mere keys to an internal proper language that lead to deciphering a message which seeks to go beyond amiable aesthetic contemplation. Thus dry leaves symbolise the inexorable passage of time, the end of all things earthly, the reliable result of a major Baroque influence. This concept is repeated in several works, for example: Premonition (Presentimiento), Reading Old Letters (Leyendo unas cartas viejas) or Musical Solitude (Soledad musicada). In the wood titled Rose, anecdotally the real name of the model, the petalless rose represents not only femininity and lost innocence, but also responds to a well- known phrase by poet Federico Garcia Lorca, "Youth is a rose that dies." The plant which appears in the right background, popularly known as Adam’s Rib, symbolises the masculine.

Motherhood (Maternidad), 2003.
Motherhood (Maternidad), 2003.
Motherhood (Maternidad), 2003.

Symbolic Realism The minting of this term to define the style of my painting production was due to the fact that the appearance of certain elements in each work is not fortuitous. Quite the contrary, they respond to a prior selection for exercise as mere keys to an internal proper language that lead to deciphering a message which seeks to go beyond amiable aesthetic contemplation. Thus dry leaves symbolise the inexorable passage of time, the end of all things earthly, the reliable result of a major Baroque influence. This concept is repeated in several works, for example: Premonition (Presentimiento), Reading Old Letters (Leyendo unas cartas viejas) or Musical Solitude (Soledad musicada). In the wood titled Rose, anecdotally the real name of the model, the petalless rose represents not only femininity and lost innocence, but also responds to a well- known phrase by poet Federico Garcia Lorca, "Youth is a rose that dies." The plant which appears in the right background, popularly known as Adam’s Rib, symbolises the masculine.

The Bride (La novia) (study for a later work), 2003.
The Bride (La novia) (study for a later work), 2003.
The Bride (La novia) (study for a later work), 2003.

Symbolic Realism The minting of this term to define the style of my painting production was due to the fact that the appearance of certain elements in each work is not fortuitous. Quite the contrary, they respond to a prior selection for exercise as mere keys to an internal proper language that lead to deciphering a message which seeks to go beyond amiable aesthetic contemplation. Thus dry leaves symbolise the inexorable passage of time, the end of all things earthly, the reliable result of a major Baroque influence. This concept is repeated in several works, for example: Premonition (Presentimiento), Reading Old Letters (Leyendo unas cartas viejas) or Musical Solitude (Soledad musicada). In the wood titled Rose, anecdotally the real name of the model, the petalless rose represents not only femininity and lost innocence, but also responds to a well- known phrase by poet Federico Garcia Lorca, "Youth is a rose that dies." The plant which appears in the right background, popularly known as Adam’s Rib, symbolises the masculine.

La Duda
La Duda
La Duda

My sensitivity towards all women who have been, are and will be brides, with which I wish them that they do not get to finish their dream and, above all, with those who have taken the step to become loving companions or spouses, who have suffered and still suffer the disappointment and cruelty that it costs them, even unto life. To them I dedicate the meaning of this work from the bottom of my heart. Maria José Aguilar Gutierrez