Juxtaposed Landscape Masters
Once in a while an unofficial
and subjective Art History Reevaluation lesson is required to fully
appreciate the fine art generated locally in the San Antonio region. An unusual comparison of international
Post-Impressionist, Vincent Van Gogh versus Spanish born, but San Antonio claimed landscape painter, Jose
Vives-Atsara side by side.
{A perverse comparison I know but absolutely metaphysical
Mixed with a touch of self-gratification}…
Although both artists were passionately collected in highly
esteemed social circles with political and social influences that enabled their
careers- one artist was romanticized and made legendary, while the other only
gaining international acclaim in the last half century. In a theoretic evaluation
of local impressionistic master Jose Vives-Atsara, I am drawn to compare “Summer”, Catalina ,
Spain , 1976 to the
brilliant painting of Van Gogh –“Haystacks
of Provence
Both artists were well aware of traditional color theory as
well as being reputable and skilled color mix-ologists.
Van Gogh maximized the visual impact of color relationships with his signature
artistic aesthetic; often reinforced with select pairs of complementary or
contrasting colors- orange contrasted with blue and red playing opposite of
green. Vives-Atsara on the other hand, used a minimally selective color palette
of only 9 colors, mixed to achieve pictorial depth and linguistically artistic
color dialogues.
Both artists worked “en plein air”, a preferred method for their
need to be present in the landscape; viewing the “subject” in the natural
light; in constant battle with the ever changing tonalities of the setting sun.
Both constructed compositions that
included architectural elements that formulated classical compositions of
foreground, middle ground, and background.
Evidently both were conscious of manmade structures that impede on a divine
and god-given landscape; angular imperfections that would add anchoring
components to an otherwise textbook layout and linear landscape arrangement.
Vincent van Gogh, Haystacks
of Provence, Painting, Oil on Canvas
Although Van Gogh’s haystacks read left to right in a seemly
flat space, it appears to be slightly angled upward, maybe inferring a
misconstrued one-point perspective; while Vives-Atsara’s haystacks read right
to left; bouncing around in an expansive foreground. His placements lead our eye to a center focal
point, and then ease us past the washed-out and nondescript villas of Catalina,
to the tree line boundary, and finally resting back on the final left bundle of
hay.
The chiaroscuro properties of the darker shadows and bright
highlights in the Vives-Atsara painting are bold and effective; while Van Gogh
executes a radiant yellow/orange glow with only a hint of direct illumination
by way of a bottom-heavy outlines of the harvest.
Subtle details are carefully considered by both artists. Van
Gogh with his green window arches, a color used in earnest to add lush greenery
and vegetation to the golden excessiveness; while Vives-Atsara’s windows hold
true to a darkened portal void of any voyeuristic enticements. This shadowy mix
is the same tone used to add a visual vigor to the tree lined mid-ground of his
landscape.
Jose Vives-Atsara, “Summer”,
Catalina , Spain,
Application of paint was a concern for both artists as well.
Dealing with changing light, tonality shifts and constant alterations of illumination,
each artist worked in haste to capture a specific moment of time. Posthumous,
each artist’s signature style is well regarded, appreciated, and valued due to
the personal application of paint and color to the surface. Van Gogh’s thick
expressive palette knife administration is often copied and replicated, a technique
taught in many schools. While
Vives-Atsara, an honorary “Artist in
Residence” and former instructor at the University of Incarnate Word, had a
whimsical style reminiscent of an exploding star, peaking like cactus needles, and
personalized with an energetic swipe and expressive jut of color. Both painters shared pictorial elements that
increased the market value of the work, along with the subject matter and desired
dates of execution.
In essence, by comparing these two historically different,
but conceptual similar artists (Vincent Van Gogh and Jose Vives-Atsara), I wish
to unveil the seemingly obvious reason why it would be beneficial to do such an
unconventional and perhaps maybe even a blasphemous comparison exercise. By providing a small piece of knowledge for
an expanded art appreciation to any audience, I want to allow the viewer a
greater understanding of art from a historical backdrop; Art History baggage if you will that contemporary artists
are bringing with them as they write the next chapter of Art History.
© Written by Gabriel Diego Delgado
Art Consultant
J.R. Mooney Galleries of Fine Art
gabrieldelgadoartstudio@yahoo.com
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