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Trampantojo_Cosas mías

“My things”

I start this blog without fuss. It will be the logbook of my website and an exhibitor of past experiences and future projects. All splashed by current strokes, and start ………… with Rafaello Santi.

Making a brief tribute to my artistic references. Starting with Rafael, whose work you will see in the back room of my works, modestly. Because the genius does not hide and it would be redundant for me to put his work in the window. His teaching is so overwhelming that one would end up becoming a copyist of his work, and only of his work.

Detalle de Cosas mías

Detail of “My things”

As a reverence I have made a note-mention of his work in the “trompeloeil” “My things”, which as its name indicates becomes an allegorical self-portrait. And the chosen work, in the form of a stamp supported among other references to my person, is “The Ecstasy of Santa Cecilia”, masterpiece of the Italian Renaissance.

Rafael’s self-portrait with Julio Romano

Rafael de Sanzio, Santi

Rafael was a man who as a person knew how to combine his unique teaching with his collaborators. He put into practice the much vaunted “teamwork” in our day. Even when in those days the competition and the brand were everything in the field of the arts. And so we can contemplate it in this work, “The Ecstasy of Santa Cecilia”. Here, in the foreground, appears a set of musical instruments of the time as a still life. Painted, also masterfully, by his student and collaborator Giovanni da Udine. In this work also worked his closest and usual collaborator Julio Romano.

Éxtasis de Santa Cecilia

“The Ecstasy of Santa Cecilia” by Rafael

That’s how I think when I look at his self-portrait where he is portrayed alongside Julio Romano. He puts himself in the background ahead of his student. In this way he gives prominence to Julio Romano who turns his head with a gesture of surprise and gratitude at the same time.

Some time ago I visited an exhibition that Alicia Koplovich’s collection at the Bilbao Fine Arts Museum. Looking at the clothing of the Countess of Haro in Goya’s portrait, I could not escape the memory of the beautiful and subtle fabrics that appear in this work by Rafael. Is it my obsession or has Rafael really touched Goya’s genius?

And with the funny coincidence of being namesakes, Raffaello Santi, also called Rafael de Sanzio or Rafael Urbino and my person, I expose in this way that I find myself subjugated by his art and his work. So I will surely return to his work observing it, copying it and always admiring it.



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