Wendy Davis, Democratic State Senator for Forth Worth, spent
11 hours trying to filibuster the new restrictions on abortion rights. However,
a few days later the Texas Senate passes the bill. All this political debate, Austin antics and
women rights conundrums beats loud in the ears of all Texans; ringing with an inescapable
expletive of pros and cons.
However, sides are not important right now!
What is are the ways in which politics- social and collective seem to shape the
world around us and how they force us to reinterpret our daily routines, lives
and decisions.
This same investigative assessment can be applied to the re-interpretation
of paintings, drawings, sculptures and other fine arts in the chaotic flux we
call the art market. When we look at a selection of work by an artist, it is
hard not to re-evaluate the assortment without being somehow influenced by the timely
issues of today’s national scope of civil rivalries.
Two paintings that bring to mind the political debate over
women’s rights, their ability to choose and government policies and procedures
are Jose Vives-Atsara’s Mother and Child and Madre
Indigena.
While reproductive rights is front and center on the countrywide
stage, Vives-Atsara’s motherly depictions are spot-on with a glowing aura of
elegance; as public feedings, no less controversial, move within the women’s
right to choose and her child rearing choices and actions in the public sector.
Known for his impressionistic landscapes of Padre Island,
the villas of Spain, Texas scenery and wildflowers, Vives-Atsara’s portrait
series does not garner much consideration except when systematically re-discovered
by fine art appreciators; a long lost series of work that deepens the artists repertoire
of genres- a credibility that demands attention.
Mother and Child is a side profile portrait of a woman with her
child. While facing to the right the woman’s angle directs us down to the
obscured child. The slope of the
vegetation and agave plants in the background align with the sweeping features
of woman’s body, exposed flesh-nursing her young. We are directed along with
visual route down through the pale blue coverings of the baby’s hood and jacket;
pausing at the closed eyes. We can sense
the calming of oneself during the ceremonial feeding and natural nourishment.
Madre Indigena is the opposite angle of the other, a mother and
child embracement that portrays the daily life of two symbiotic humans, locked
together-one needing the other for life, for substance- nurturing of spiritual and
metaphysical essence. We as observers
see the endearing grin of the mother, looking down to the child; reminiscent of
a quasi-religious experience. Vives-Atsara’s setting, backdrop and environment in
this painting speak to the proletariat, the worker in the field, the peasant,
the Mercado worker; a public display of endearment that meets with mixed reactions
depending on the viewing geography.
While both can lay the groundwork for discussion, each maintains
and depicts the underlying womanly obligations, a chastise-able action by some,
but painted with undeterred nobility.
J.R. Mooney Galleries
of Fine Art is proud to offer for sale 15 portrait paintings of women by
international artist, Jose Vives-Atsara.
Be sure to see our full Vives-Atsara collection on our website at www.jrmooneygalleries.com
© Gabriel Diego Delgado/ J.R. Mooney Galleries
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