AMALIA GARCÍA RUBÍ
The thirty canvases exhibited in the halls of José de la Mano are the result of a find, a happy discovery carried out by this Madrid gallery keeper, who fortunately a while ago found the drawings and the canvases; their author, the painter Luis Feito (Madrid 1929), considered them to be lost forever. Today, after almost fifty years spent in a folder, the same one in which they were detained, these unedited works see the light for the first time in a show-room, and this is accompanied by a touching encounter of the artist with his forgotten work turned into a reminiscence dating back to many years. They were executed in the mixed technique on canvas and paper by an open mind and shining talent of a very young at that time Luis Feito who found himself in a full phase of experimentation with the plastic art. Being not signed, but identified without a hesitation by the author, these little works with a thread of undoubted transcendency are to explain the first stage of Feito’s attempts of abstractionism, the cause and the consequence of his posterior artistic evolution. To contemplate these beautiful and delicate pieces of art is to take delight in the rich material and spatio-geometrical game, from one hand influenced by the doctrine of neocubism of Vázquez Díaz, and from the other hand by the discoveries of the artist himself that permitted him to become utterly absorbed in the adventure of abstraction.
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Exhibited for the first time in the gallery of Arnaud in París in 1955, these works manifest amazingly to their mutual advantage the freshness of spontaneous hallmarks and the compulsory longing for conquest of the unexplainable universe of this non-representative art, full of melodiousness and poetry, unknown on the Spanish scene at that time. A longing or a desire that appears in each of the brief fragments of colours ( light or dark, opaque or transparent), marked by straight lines and curves without a limited trajectory. Lines drawn with the help of a ruler or simply with a firm hand, dotted lines on the soft material; wavy lines, suggestive of a thousand and one possibilities of constructing a form; lines that, in the long run, could be building timber of this primordial architectonic landscape, painted delicately on the lime fabrics of the painting turned into a wall or a small portion of the sky. The background and the surface is a tonality, a unique space where we can listen to the nocturnal silence and also be touched by a bright light of the day. Spaces are ultimately dominated by the inspiring essence of the reality and its conscious negation. Probably, presentiment of that contraposition that persecuted Feito: the sky and the earth, straight line and a curve, mouvement and quietness, the beginning and the end of an unfinished script...
• José de la Mano Gallery, 6, Claudio Coello str. Untill the 31 of May. |
