Provincial Landscape Light.

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"A provincial light," that same one which 'a fresh water embrace mentions for ever," as Carlos Mastronardi evoked.
Guillermo Bekes is a poet too. Absorbed in the contemplation that pushes him to the experiential center, and due to a hidden miracle of Art, the pristine wet pen transmutes into an impastoed brush, obeying to a resonance of contacts with nature. Each time his sensitive and artistic soul forces itself to reveal movable appearances from certain little provincial corners embraced by the freshness of the water which gives rise to culture.
The partial glimpse of nature, caught with measurable deliberateness by the limiting eye's command, shapes a Landscape. However, the landscape, as a spontaneous part of nature distinct from what exists, does not exist. In the territory of Art, it will be the painter's concern to, for instance, point out conventional extremes in order to show them as arrested fugacity; that was its origin when it appeared as an ornament. A remarkable exception: the Pompeian 'sacred Landscape', secular forerunner of this topic expressive virtues, raised to the height of being the protagonist.

From van Goyen and Ruysdael in the 17th century to the contemporary painters, the Fine Arts are persistently -luckily!- drawing and painting what does not exist; another incomprehensible mystery of Art...
To fragmentize the changing extension of the model in order to evoke to Whole is a provocation plunged into what is risky.
Guillermo Bekes makes one descend to the enigma, arranging the distance of the praxis that embraces quiet lands and waters, guarded by skies ready to change. The Aristotelian potentiality underlying in Nature is brought up to date, and the image of the Landscape arises. From its origin, its living being reflects the intentional consciousness which made it possible.
Bekes re-creates fragments from his American Arcadia, and he is a witness of the scope of Naturalism. The artist subscribed to such category must 'imitate' nature. Imitation was a dear word for the Renaissance; its illustrious spokesman was called Leonardo. During the 19th century Cèzanne revalued it, determined to work sur le motif. But imitation is the concept; the artist does the rest.

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