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Despite being born in the neighboring town of Setcases, Francesc Vidal, already from a very young age, received the pictorial influence of the Olotian masters. Some voices have tried to discredit the followers of the work of Vayreda, Berga, Galwey, etc., and in part they are right, because the followers of a school are not those who are dedicated to copy what teachers did, but those who from the pictorial foundations of the masters they are able to look for new ways of interpreting the painting. Francesc Vidal received, during the years he was at the School of Fine Arts of Olot, the influence of painters such as Xavier Vinyoles, Vilá-Moncau, Lluís Juanola and Josep Guardiola. From them he learned something very important: the treatment of the landscape, the way of reproducing it and defining it; from these teachings, he contributes as an artist innovation in color, aesthetics in composition and soul in the landscapes he reproduces.
Francesc Vidal interprets the landscape well because he knows how to draw well and because he knows thoroughly the pictorial techniques of the masters, but he does not stop here. The landscape, like all subjects, requires specific knowledge to solve it with dignity. La Garrotxa enjoys an exceptional geography that captivates visitors and captures those who live in it. Painting it is more difficult than it seems at first sight. Many foreign artists try, but very few manage to interpret the landscape of La Garrotxa. The exuberance of greens makes the artist face the difficult problem of creating apparently monochromatic works. The green of the beech and the holm oak and that of the oak and that of the junipers and that of the poplars and that of the trembling and that of the birches and that of the grass are different, in spite of being green. Capturing the nuances that differentiate them is only known by those who love the landscape, who know it and who dominate the palette to interpret it. All these colors have a different base, so different that later, when autumn arrives, all these greens will cross the light spectrum and give rise to the bluish greens that become yellowish green, yellow green, yellow green and yellow. Later in the autumn, from these greens arise the first yellowish orange, pure orange, orange pink that tend to pink and, on the other hand, reddish orange, which will end in red. Little by little that orange rose that has turned to pink turns into purple rose, and the red that has undergone the same process decant towards the red purple, the reddish purple and finally the two, the pink and the red, are in the pure purple. All these colors must be found in the different shades of spring and summer. This is the great challenge of the painter who faces a landscape apparently of a single color.
Francesc Vidal has made the landscape his usual way of expression, but as an artist he has extended the horizon of La Garrotxa to other landscapes and interprets, with the same skill, the intense colors of the Mediterranean, the temperate whites of the Islands, the cliffs of Les Guilleries or the French gorges of the Aglí river. Sometimes it is carried away by pure figurative style and reproduces the landscape like a mirror. Sometimes he gets carried away by the romantic touch and surprises us with landscapes with light scares that cross places blurred by soft tones. His palette has evolved in recent years and has become more precise and, especially, brighter. The artistic maturity makes the painters simplify the colors and use them more pure, that allow to see the works with more depth and observe how daylight surrounds the elements of the landscape. It is at this moment that the composition takes on a life of its own and the observer can enjoy it, discovering the many details that the artist incorporates. French c Vidal presents in this book a work that shows his mastery as a draftsman, his sensitivity in the use of color and the ability to turn into art what others reproduce as artisans. He is a young artist who lives painting fully and who, despite his age, shows a few ways that accredit him as an extraordinary painter, a worthy follower of the Olotense School that made famous the great masters of the late nineteenth century and the advanced disciples of the past twentieth century.
|Participation Date:||August 06 2018|