October 1963

Art Critic : Raúl González Tuñón

Gallery Exhibit: Van Riel

Although we can speak about the “generation quarrel” (there are old young people, because of there mentality; and there are young old people, because of their youthful momentum, in which case we have the examples of Picasso, Cocteau, Chaplin, Erenbrug, etc.), we can’t speak about the contradiction assumed by opposed aesthetic trends. Deep inside, there is no separation between figurative and non-figurative painting, when both expressions are confronted with dignity, and the objectiveness is logically linked to the artist’s sensibility and consciousness. I am closer to what I think is plain modern: the abstract-figurative painting in all its ways, leaning first in the manifestation of form, with sense of synthesis, allows penetration in the workshop, in the creative intimacy, the purity and impurity of the times we live in. In this way, and in his style, the artist puts to some extend in practice the premise in which painting, like poetry, has some kind of dialogue between the man and his times.

Carlos A. Baglione, whom we already judged at his Groussac Gallery exhibit, is now into another search, confronting a painting technique based on the plastic in itself, without a point of reference, not falling into the decorative or just plain geometrical. By avoiding the figurative, he is limiting the theme possibilities that are offered by the visible world. But he does it because that’s how he feels, and therefore, is actual position is authentic and doesn’t respond to spectacular recipes or fads. In similar experiences, other artists have seen themselves rapped in there own rhetoric, which will not happen with Baglione, thanks to the impulse that animates him, in a constant need for search.

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