The theme of man's loneliness in a cafe, of isolation and emptiness, was not new to French art in the second half of the 19th century and could be found in the works of Degas and of Picasso's much-admired Toulouse-Lautrec. But in the paintings by the young Spaniard the theme acquired a previously unknown sense of drama. Our lonely heroine sits at a table in a cafe, the background a dirty-red wall which reinforces the sense of discomfort. Emphasizing the flatness of the canvas, the colour of the walls and the bluish tone of the marble table seem to press the space inwards, around the woman, enclosing her in her hopeless loneliness. In the pose of the absinthe brinker, in her face, we can identify the outcast: the totally enclosed space of her body, the expressive distortion of the right hand, seem to indicate the tens

Result #1

The theme of man's loneliness in a cafe, of isolation and emptiness, was not new to French art in the second half of the 19th century and could be found in the works of Degas and of Picasso's much-admired Toulouse-Lautrec. But in the paintings by the young Spaniard the theme acquired a previously unknown sense of drama. Our lonely heroine sits at a table in a cafe, the background a dirty-red wall which reinforces the sense of discomfort. Emphasizing the flatness of the canvas, the colour of the walls and the bluish tone of the marble table seem to press the space inwards, around the woman, enclosing her in her hopeless loneliness. In the pose of the absinthe brinker, in her face, we can identify the outcast: the totally enclosed space of her body, the expressive distortion of the right hand, seem to indicate the tensed, almost desperate, effort to find a way to escape it. The woman looks as if she were on the verge of losing it, and the canvas, as a medium, seems to be her only refuge.

Result #2

The theme of man's loneliness in a cafe, of isolation and emptiness, was not new to French art in the second half of the 19th century and could be found in the works of Degas and of Picasso's much-admired Toulouse-Lautrec. But in the paintings by the young Spaniard the theme acquired a previously unknown sense of drama. Our lonely heroine sits at a table in a cafe, the background a dirty-red wall which reinforces the sense of discomfort. Emphasizing the flatness of the canvas, the colour of the walls and the bluish tone of the marble table seem to press the space inwards, around the woman, enclosing her in her hopeless loneliness. In the pose of the absinthe brinker, in her face, we can identify the outcast: the totally enclosed space of her body, the expressive distortion of the right hand, seem to indicate the tensed body. Her body is a strange thing, and it is no wonder that the atmosphere of loneliness and isolation in the pictures is so much more powerful than the mood of the painting itself. The atmosphere of this particular painting is one of fury, the fury of the passion for love.The anger of these works is not exclusive to the style of the artists, but is present in the way the imagery is used. The image is used with great passion and intensity in the series of paintings entitled, with their titles such as, M. and M. (Woman and Man), all 1999, each containing a single word: M. (Woman), M. (Man), M. (Woman), M. (Man), M. (Man), M. (Woman), M. (Woman). The images are sprayed over a background of red paint and black, which gives the impression of being a purely physical fact. The artist seems to be painting his or her own body against the background of his or her own passion.The title of one of these paintings, M. and M. (Woman and Man), 1999, is a pun on the name of the main character of the story: M. (Woman), M. (Man), M. (Woman), M. (Woman). The image is a perfect illustration of the way in which the passion for love is expressed in the image. The passion for love is expressed in the image of the woman, a woman who is neither a woman nor a woman. She is not a woman, but rather an object.The images are painted on the back of canvas, usually in a very beautiful and restrained manner. The colors are soft and subdued, and the surface is richly applied, especially in the black and white. The colours in the paintings are not harsh, but they are not harsh in a negative way either. The paint has a gentle, almost gentle, smell.

Result #3

The theme of man's loneliness in a cafe, of isolation and emptiness, was not new to French art in the second half of the 19th century and could be found in the works of Degas and of Picasso's much-admired Toulouse-Lautrec. But in the paintings by the young Spaniard the theme acquired a previously unknown sense of drama. Our lonely heroine sits at a table in a cafe, the background a dirty-red wall which reinforces the sense of discomfort. Emphasizing the flatness of the canvas, the colour of the walls and the bluish tone of the marble table seem to press the space inwards, around the woman, enclosing her in her hopeless loneliness. In the pose of the absinthe brinker, in her face, we can identify the outcast: the totally enclosed space of her body, the expressive distortion of the right hand, seem to indicate the tensility of the internal organs. The last work in the show, titled La Branche (The breast), also marked the end of the artist's work in this way. The artist no longer used the flat surface of the canvas to construct a figurative image, but, using a broad brush, he created a smooth, semi-abstract surface. The surface is characterized by a high-keyed and slightly cracked-looking texture. The figurative aspect of the work is reinforced by the appearance of a breast which is not quite the same as the one of the canvas, and by the existence of a nipple hidden in the lower part of the canvas. The black-and-white background of the painting is partially obscured by a blue-gray background. The painting appears to be in the process of disintegrating into a variety of abstract shapes. The woman in the painting is torn between two worlds, between the two selves of the self. The viewer is confronted with the idea that she is both the subject and the object of an esthetic conception.The exhibition was accompanied by a series of drawings, some of which are based on a series of small paintings of women in a French café. The women are represented by a mass of black lines, like those used to outline lines in a painting. The lines are drawn in a single stroke and then overlaid in a neat grid pattern.

Result #4

ility of her insensibility. The effect of the painting is that of a very sensual, sensual experience. The puddles of blood in the background are reminiscent of the blood of an animal, and the right-hand painting is a sort of expressionist caricature of a man who is not a man but a monster. These paintings are works of pure and sensual beauty.

Result #5

The theme of man's loneliness in a cafe, of isolation and emptiness, was not new to French art in the second half of the 19th century and could be found in the works of Degas and of Picasso's much-admired Toulouse-Lautrec. But in the paintings by the young Spaniard the theme acquired a previously unknown sense of drama. Our lonely heroine sits at a table in a cafe, the background a dirty-red wall which reinforces the sense of discomfort. Emphasizing the flatness of the canvas, the colour of the walls and the bluish tone of the marble table seem to press the space inwards, around the woman, enclosing her in her hopeless loneliness. In the pose of the absinthe brinker, in her face, we can identify the outcast: the totally enclosed space of her body, the expressive distortion of the right hand, seem to indicate the tensility of her existence. The melancholy of the image is inextricably linked to the darkness of the room, the materiality of the ceiling, and the overall appearance of the background, which is opaque and forbidding. The entire scene seems to be a dream, a dream of a vanished, imprisoned existence.In the paintings by the young Spaniard, a mood of loneliness and absence, of being lost in the past, is also present in the works of the artists contemporaries, particularly in the work of the young men. Here, as in the paintings by the young Spaniard, a sadness, a melancholy, a melancholy, is implied in the works of the young men, but in a more profound sense than in the paintings by the young women. The melancholy of the paintings by the young Spaniard is present in the work of the young men, but it is one that is at once sadder than that of the women. In the paintings by the young men, melancholy, despair, and despair seem to be the only means to a solution of the social problems of the day.The exhibition was divided into two parts: the first was devoted to the art of the 19th century and the art of the 20th, in the first of which we saw how the themes of loneliness, of loneliness and isolation, and of loneliness and isolation were inextricably linked to the themes of man's loneliness in a cafe. The theme of loneliness in a cafe, of loneliness and emptiness, was not new to French art in the second half of the 19th century and could be found in the works of Degas and of Picasso's much-admired Toulouse-Lautrec. But in the paintings by the young Spaniard the theme acquired a previously unknown sense of drama. Our lonely heroine sits at a table in a cafe, the background a dirty-red wall which reinforces the sense of discomfort.