{"id":819,"date":"2021-11-26T10:50:27","date_gmt":"2021-11-26T10:50:27","guid":{"rendered":"http:\/\/villanueva-fineart.es\/?page_id=819"},"modified":"2021-12-15T18:53:05","modified_gmt":"2021-12-15T18:53:05","slug":"jesus-barranco","status":"publish","type":"page","link":"https:\/\/villanueva-fineart.es\/en\/jesus-barranco\/","title":{"rendered":"Jes\u00fas Barranco"},"content":{"rendered":"
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Jes\u00fas Barranco<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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He was born in Antequera<\/strong> (M\u00e1laga) in 1960. Graduated from the Faculty of Fine Arts of San Carlos, specialty of Painting<\/strong>. Polytechnic University of Valencia in 1993. Barranco<\/strong> is a young painter<\/strong> from Malaga who ranks among the best Spanish landscape painters<\/strong> today.<\/p>

In his tables, light<\/strong> dissolves matter, makes the atmosphere reverberate again and reproduces that unique southern haze. Its deep extensions<\/strong> and its dry luminosity<\/strong> from the fullness of the most refined painting<\/strong>, heir to a Caneja Days<\/strong>.<\/p>

Its composition is rooted in the most dynamic neoplasticism<\/strong>, in elementalism<\/strong> with a desire for movement, to which it contributes the imbalance<\/strong> of the line that leads to the horizon; his geometry<\/strong> of the buildings and the landscape draws on the refined sources of Suprematism<\/strong>, on which he works with a chromatic range dominated by luminous yellows; and above all this he assembles the plot with a rough treatment of the subject and the power of a superior point of view, almost omnipotent, completed by a determined brushstroke<\/strong>.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Are these canvases<\/strong> carefully stopped temporality or a desire to capture the essence of the city? Is existence stopped in the middle of a wasteland or immateriality what the artist<\/strong> transmits?<\/p>

For Barranco<\/strong>, the landscape is an excuse to do painting<\/strong>, never objectivity or figurativeism. In his work, the absence of shadows achieves without fuss some limited fields of color that refer to Rothko<\/strong>, where he makes the walls of the buildings float above the foggy horizon of the city. In his painting<\/strong>, natural landscapes are articulated in meanders of water that are bands of color that refer to the most stark stage of the Support-Surface<\/strong> current.<\/p>

For this man from Malaga, the reality<\/strong> of urban or peasant landscapes, empty of characters, void of life, are appearances to hide painting-painting. In his paintings<\/strong>, the buildings are appearances of a chromatic and geometric world, the excuse for an exclusively pictorial aesthetic<\/strong>, and the fields are the external motif that contains an internalized perception, converted into plastic <\/strong>abstraction.<\/p>

The matter dissolves in light<\/strong> and this is filtered in subtle yellows to provide the viewer with the beauty<\/strong> inherent in all work decanted and refined by intelligent mastery<\/strong>.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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Awards and Distinctions<\/div>\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t
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1.990<\/strong> III Premio. V Certamen Nacional de Artes Pl\u00e1sticas \u00f3leo. Ministerio de Trabajo y Seguridad Social. C\u00e1diz.<\/p>

1.991<\/strong> I Premio. VI Certamen Nacional de Artes Pl\u00e1sticas. Barcelona.<\/p>

1.992<\/strong> II Premio. VII Certamen de Artes Pl\u00e1sticas \u00f3leo. C\u00f3rdoba.<\/p>

1.993<\/strong> I Premio. VIII Certamen Nacional de Artes Pl\u00e1sticas. Cuenca.<\/p>

1.994<\/strong> Acc\u00e9sit XV Certamen Nacional de Pintura Ciudad de Martos (Ja\u00e9n).<\/p>

I Premio Paisaje. Premios de Oto\u00f1o Villa de Chiva (Valencia).<\/p>

1.997<\/strong> I Premio. X Certamen Pintura r\u00e1pida Sot de Chera (Valencia).<\/p>

I Premio. I Certamen Nacional de Pintura R\u00e1pida Vall d’ Uxo. Castell\u00f3n.<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t

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Distinci\u00f3n y adquisici\u00f3n de obra por la XII Edici\u00f3n de la Feria Internacional de Arte Interart\u00b497 (Fondo de obra permanente). Valencia<\/p>

1.998<\/strong> Inauguraci\u00f3n con exposici\u00f3n individual de la Galer\u00eda Reding. M\u00e1laga.<\/p>

Distinci\u00f3n adquisici\u00f3n de obra por la XIII Edici\u00f3n de la Feria Internacional de Arte Intarart\u00b498 (Fondo de obra permanente). Valencia.<\/p>

1.999<\/strong> Distinci\u00f3n y adquisici\u00f3n obra por el Excmo. Ayuntamiento de Salamanca, para el fondo de obra del Museo de Arte Contempor\u00e1neo de la ciudad. Salamanca.<\/p>

2.000<\/strong> Distinci\u00f3n y adquisici\u00f3n de obra por la Junta de Andaluc\u00eda en la II Edici\u00f3n de la F.I. de Arte contempor\u00e1neo, ArteSevilla. Sevilla<\/p>\t\t\t\t\t\t\t\t<\/div>\n\t\t\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/div>\n\t\t\t\t\t<\/div>\n\t\t<\/section>\n\t\t\t\t

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