Review | This is where Abella...

Generated on 2023-11-28 11:49:39

Result #1

This is where Abellana ventured into impressionism, departing from the techniques embraced by many independent artists. Unlike the use of academic colors of neutral white, grays, and blacks, he rendered shadows and highlights in color, creating a distinctive impressionistic flair in his landscapes. Inspired by renowned artists like Renoir, Monet, Seurat, van Gogh, and Cezanne, Abellana's landscapes combine vibrant hues with an earthy mystique, basking in the tropical sunlight reminiscent of Amorsolo's influence (Canete, 2021). However, unlike Amorsolos sunset-imbued yellows and oranges, Abellana preferred blues and bleached whites. His palette was often reserved, but never dulled. One of his most striking works was Untitled (Black and White), both 2019. The small, monochromatic painting shows a dark, cloud-strewn sky, a pair of branches in a field, and a distant, painted silhouette of a large, beached whale. The composition evokes the oceanic beauty of the tropical tropics while also evoking the shoreline of the Mediterranean. The composition also evokes the coastal landscape of the Mediterranean and the Mediterranean Sea.In the second room, Abellana presented a suite of six untitled canvases from the series Amorsolos, all 2019. These are also painted in a medium-size format, but the works are smaller, smaller versions of Amorsolos paintings. In each of the canvases, Abellana applied paint in thick, almost monochromatic strokes. Some of the strokes are rendered with a warm, yellow, or brownish tone, as if the paintings had been washed over with a warm, wet, and humid atmosphere. The surfaces are often stained and smeared, sometimes in a smeared, pastel-yellow, sepia-toned palette. The surface is often covered with white, and Abellana often uses it as a base for his signature, the canvas motif. The paintings are connected to Amorsolos black-and-white works by displaying a more conventional, but still strikingly beautiful, palette.Abellanas painting techniques are reminiscent of the way in which the artists own palette is manipulated. In one of the works in the exhibition, a painting of a field of flowers, Untitled (Blue and Blue), 2019, is covered with a rich, amethyst-colored stroke. The strokes are drawn in a painterly style that recalls the way the artist paints his paintings.

Result #2

This is where Abellana ventured into impressionism, departing from the techniques embraced by many independent artists. Unlike the use of academic colors of neutral white, grays, and blacks, he rendered shadows and highlights in color, creating a distinctive impressionistic flair in his landscapes. Inspired by renowned artists like Renoir, Monet, Seurat, van Gogh, and Cezanne, Abellana's landscapes combine vibrant hues with an earthy mystique, basking in the tropical sunlight reminiscent of Amorsolo's influence (Canete, 2021). However, unlike Amorsolos sunset-imbued yellows and oranges, Abellana preferred blues and bleached whites. The result was a darkly humorous mood, a mood that evoked the kind of mood one might encounter on a summer day in the Caribbean.At the center of this somber mood was a tropical landscape called The Fifth, 2019, where the artist captured the bright light of a sunbaked Caribbean island. The sky was a dark blue and sky-blue sky, while the island itself was a deep blue, and the sky was a shadowy blue. The sky was filled with trees, some of which were so full of life and light that they looked like living things. These trees appeared to be growing and sprouting leaves, or they were twigs. In the background, the artist observed the leaves, which looked as if they were sprouting from the trees trunk, or the leaves were being sucked in by the branches of the trees. The leaves were draped over a thicket of palm fronds. The foliage was painted in a rich, yellow-green, and dark blue. The leaves were spread out on the ground, and the trees were in a high-altitude forest. The leaves were arranged in a way that was reminiscent of a tropical forest. Abellanas visual vocabulary was lush, lush, and colorful, and his figures appeared to be alive and moving. A woman stood in front of a tree with her arms outstretched. The leaves of the palm fronds danced on the trees branches. The leaves were part of a waterfall of light that seemed to rise up from a deep, dark pool.Abellanas work evokes a tropical paradise. And the beauty of the tropical forest is not a distant memory. This is a place that has a deep and rich past. The landscape evokes the past of the Caribbean and is home to a diverse community of cultures, from the indigenous to the modern.

Result #3

This is where Abellana ventured into impressionism, departing from the techniques embraced by many independent artists. Unlike the use of academic colors of neutral white, grays, and blacks, he rendered shadows and highlights in color, creating a distinctive impressionistic flair in his landscapes. Inspired by renowned artists like Renoir, Monet, Seurat, van Gogh, and Cezanne, Abellana's landscapes combine vibrant hues with an earthy mystique, basking in the tropical sunlight reminiscent of Amorsolo's influence (Canete, 2021). However, unlike Amorsolos sunset-imbued yellows and oranges, Abellana preferred blues and bleached whites. The colors also recall the various natural phenomena in the artists work—for example, the sunspots in the sunflowers in his series of blue-green landscapes from the early 1970s.The shows centerpiece, titled Les Cézannes, 2021, was a massive assemblage of forty-five canvases, each depicting a single scene from the artists career. The paintings range from the painterly to the abstract to the figurative. While the images are often rendered in an expressive, painterly style, Abellanas use of the painterly to construct his works is reminiscent of the work of a sculptor, who is often more concerned with the formal qualities of the object than its physical properties. In Les Cézannes, 2017, for example, the sky is composed of hundreds of tiny black dots, while the ground is made of a mix of dark and light tones. In some of the scenes, Abellanas use of color is almost as vivid as the sky, creating a sensuous, almost impenetrable atmosphere. A lone light-purple monochrome is the only work in the show with a single white dot. It is a striking contrast to the almost monochromatic nature of the rest of the paintings.In the second room, Abellanas most recent work presented a reprise of some of the same themes, but here the color scheme was more complex. These were paintings of three kinds, all from the early to mid-to-late twentieth century: the early examples of the Nouveaux Réalistes, painted between 1819 and 1827, which featured the traditional motif of the French landscape; the later works that follow, in which Abellana added colorful strokes to his palette; and the more abstract works, which are less organized than the earlier ones.

Result #4

This is where Abellana ventured into impressionism, departing from the techniques embraced by many independent artists. Unlike the use of academic colors of neutral white, grays, and blacks, he rendered shadows and highlights in color, creating a distinctive impressionistic flair in his landscapes. Inspired by renowned artists like Renoir, Monet, Seurat, van Gogh, and Cezanne, Abellana's landscapes combine vibrant hues with an earthy mystique, basking in the tropical sunlight reminiscent of Amorsolo's influence (Canete, 2021). However, unlike Amorsolos sunset-imbued yellows and oranges, Abellana preferred blues and bleached whites. The result was a highly atmospheric, atmospheric composition.Abellanas work has been compared to that of the late masters of the Spanish Renaissance, the Italian Renaissance, and the Portuguese Baroque. This is not a new idea, but Abellanas work has received a great deal of critical attention. For example, the New York Times ran an article on the work in 2013, titled La dibujo (The lightness), which was published in the catalogue accompanying the first edition of the exhibition. The title also appeared in the catalogue accompanying the second edition of the show, La dibujo (The darkness), which was included in the first edition of the show. A reference to the way the dark, shadowed areas of the canvas are used to create a sense of depth and depthlessness, Abellanas paintings are also filled with deep shadows. In his series of sixteen works on paper from 2016–17, for example, Abellanas painted a deep black shadow on the left edge of the canvas, creating a subtle depth effect. The deep shadow also appears in his work on canvas, where the shadows are more pronounced, and the shadows are more clearly delineated. Abellanas paintings are characterized by a kind of lightness that can be felt in the dark, and which is also expressed in the shadows of the paintings themselves. In this way, Abellanas paintings reveal themselves as a serious attempt to introduce a new way to think about painting.This exhibition was the first in a series of two shows that will follow next spring in the Museu de Arte Moderna in Madrid. Abellanas first solo show in Spain was organized by the Museu de Arte Moderna in collaboration with the Museu de Arte Moderna in Madrid. The exhibition featured works on paper, wood, and metal. Abellanas works are rich in color and rich in the subtlety of his brushstrokes.

Result #5

This is where Abellana ventured into impressionism, departing from the techniques embraced by many independent artists. Unlike the use of academic colors of neutral white, grays, and blacks, he rendered shadows and highlights in color, creating a distinctive impressionistic flair in his landscapes. Inspired by renowned artists like Renoir, Monet, Seurat, van Gogh, and Cezanne, Abellana's landscapes combine vibrant hues with an earthy mystique, basking in the tropical sunlight reminiscent of Amorsolo's influence (Canete, 2021). However, unlike Amorsolos sunset-imbued yellows and oranges, Abellana preferred blues and bleached whites. The light, which he observed in the pages of his notebooks, was cold and brooding. Though he might be tempted to describe his paintings as abstractions, they werent. The hue of the sky and the rainforest beneath them were just as vivid. The atmospheric effect was almost palpable, and the palette was almost as rich. The surface was warmly painted, with a bold, clear-blue palette that accentuated the color of the shadows and highlights. The light reflected off the trees and shrubs on the forest floor and into the trees above, and the trees themselves were painted in bright-reds, a bold, deep-blue palette. The color was richly evocative, and Abellanas palette of blues, whites, and grays was equally richly layered, adding to the impression that the images were deeply felt. The luminous, darkly beautiful, almost alien world he created was truly a mystery.Abellanas paintings were based on his experiences in the tropics, his personal encounters with nature and his encounters with the atmosphere of the tropics. The sky in his landscapes was completely saturated, with green, yellow, and orange tones, which he found in the rainforest. In one of his most striking works, The Sun Is a Light that Drips, 1983, the sky and rainforest were united in a single palette: green, blue, and yellow. This combination produced a luminous atmosphere that was both deep and vivid. Abellanas paintings were based on his experience in the tropics, and his experience with the atmosphere of the tropics. In The Sun Is a Light that Drips, 1983, the sky and rainforest were united in a single palette: green, blue, and yellow. This combination produced a luminous atmosphere that was both deep and vivid. Abellanas paintings were based on his experience in the tropics, and his experience with the atmosphere of the tropics.