Mode ENCRE FRANCISCO CORZAS SUR PAPIER SIGNÉE 6" x 5,5" DESSIN

FRANCISCO CORZAS (1936 - 1983)Seen at a distance, Corzas was a painter with a plastic indomitable presence, accurate in his vision about the end of the painting itself: it creates a world populated by human beings themselves. Always aware of the value of the great figures in the history of art, Rembrandt and Caravaggio, Goya and José Clemente Orozco, Francisco Corzas was a peacemaker who understood the profound stylistic changes that were introduced by their generation in the mid-20th century, in Mexico. (By Luis Martín Lozano in "Francisco Corzas", Bital Financial Group) in the opposite direction to the frivolity of the Mexican elite, Francisco Corzas took refuge in the truths of the past. For him, it was clear that the violence contained of Caravaggio wasnt lying, or that the light in the paintings of Rembrandt if it was able to strip the souls of men, and that, eventually, Goya had not lost their reason, but that he discovered the extreme lucidity in the abysses of the irrationality. In short, he knew of painting, was an artist worship, devoid of false intellectuality. In many ways it was a painter, a genuine antimoderno outcast of modernity. A posromantico that it was wrong of a century or a visionary who realized that the formal progress of the avant-garde did not, necessarily, nor to the abstraction or action painting of the Expressionism of the New York school. Seen through the eyes of a historian of art, Francisco Corzas could be called the first postmodern mexican, just by that way to evade the evolutionary modernity and knowing how to take with wisdom plastic elements of the past, without falling into academicismos acartonados. (By Luis Martín Lozano in "Francisco Corzas", Bital Financial Group) It was, rather, an artist of constants and repetition, of issues, to which he returned again and again. One of them, without a doubt, it was the naked female body. A great admirer of Titian, the effigies of the body that came out of the brush of corzas have fewer links with the Italian art with the rich tradition of Mexican painting. The archetypes of corzas are linked to the conception of the end of the century, of the femme fatale, The Woman Eater of men which is capable of possessing the soul of the artist. Has its endorsement in the poetry of symbolism, and its origin can be traced back to the vicinity of the 18th century, when the femina is the protagonist of the painting rococo, and frivolous, and sexually dissipated, is held by the colors of Boucher and Fragonard. In the 19th century, romanticism proves that the reason shown is insufficient to attempt to explain the secretive nature, seductive women. In the purity of her virginity, the artists are proof that the salvation of the spirit; but, also, that your body is the embodiment of lust, and therefore, path of perdition. (By Luis Martín Lozano in "Francisco Corzas", Bital Financial Group) Another of the issues that puts Corzas in the line of a historicist painter, is the recurrence to the past, without any rigor by the chronologies, of course. Particularly like to evoke the culture of the baroque period, not only as a fad, but as a repeated presence of strange characters loners who inhabit their paintings, for example, the self-portraits figurative. Corzas seemed to have read the lives of the painters who write Giorgio Vasari. If so, was fixed in his mind the explanation that the biography, by more distance than had the true talent, eventually depended the fate of the artist.