By Isabel del Rio
Yesterday, I.Zara told about perspective in his article: ‘Always the problem of perspective’. He remembered that ancient Greek and Roman artists, in spite of all their artistic achievements (for example, Greek art established the canon or proportion and the Roman architects were able to build the dome (Pantheon) with the diameter longest in the world…, still today!), they didn’t manage correctly perspective.
Perspective means ‘to see through’ and in the graphic arts (drawing, pictures…) consists in representing on a flat surface (paper, canvas…) an image as it is seen by the eye. How? First: figures are smaller as their distance from the observer increases. Second: the dimensions of a figure along the line of sight are progressively shorter. On other words: a mathematical problem and we need to join art and mathematics (much more friendly that we think) to make a painting with correct perspective.
In Italy, in the Renaissance, artist were ‘humanist’ and they tried to dominate all of the knowledge. Yes, of course, they could dominate perspective at the end and to transmit this achievement to all of Western Europe while flat icons kept on painting in the Oriental Europe… the same as in the rest of the world.
Is it only a mathematical problem? China or India have been fantastic in mathematics. However, depth is alien to their paintings. Why? Maybe the problem is bigger, maybe we are speaking about a way of looking the world.
Renaissance and Enlightenment (and of course, Western positivism of the nineteenth century) wanted to understand the world in such a complete way that they needed to catch it in the interior of a frame. And they did, and until they did not dominate it, avant-garde or abstract movements weren’t interesting, because artist didn’t look for new worlds but for the real one.
Afterwards and during the 20th century, the mentality changed and sickened by industrial achievements of that positivist way of thinking, the artists wanted to forget our real world and looked at other cultures: a period as to seek new graphic forms.
Already exceeded that time, the Spanish painter Jaime Hernandez de la Torre is now trying to combine the Western tradition with this search of new ways of expression, with that Oriental sensibility or those expressive African or American worlds. The result, his personal towns of strange lights and several correct perspectives fighting to conquest the picture while people dream and imagine.
A difficult and beautiful task.
See also: http://yareah.com/?p=447
Jaime Hernández de la Torre (Madrid 1972) took his first steps towards painting at an early age under the auspice of the artist José Ruiz Correa. He studied fine arts in Madrid combining college with art lessons given by Pedro Galván. At the age of eighteen he represented Madrid in the Biennial of Young Artists in Lisbon 1998. From then on he began exhibiting his works in Madrid and other cities across Spain. At this point his art was characterized by a deep personal line significantly influenced by the circumstances of his daily life. Thereafter his painting would be rigorously structured upon skilful drawing and sobriety. Whilst continuing with his career he teached art in several institutions and finally founded the art academy “Estudio Torre”, of which he was director and teacher from 2002 to 2009. This time constituted a stage of reflexion. Driven by the need to learn he researched the procedures and stylistic concepts as well as the symbolic universe of Renaissance and Baroque artists. As a result of this maturing process he exhibited his works in various art fairs across Europe. It was not until 2009 that he decided to concentrate full-time on his work and moved to Berlin where he initiated a new period of symbolism subject to the concept of an archetypal city. This retreat in his studio in Wiesenstrasse has enabled an absolute commitment to the developing of his latest work, part of which can be seen in today´s exhibition.