Offered by: Pace & Sons
30 Corso Del Rinascimento Rome 00186 , Italy Call Seller 39.348.410.6419 Showrooms


Corso del Rinascimento 30
*Roma 00186


$ 35,000
  • Description
    “While science soothes the mind, art perturbates it” (George Bracque)
    Black is more than a colour. It is a period. It is an expression. It is a supremacy. It is hegemony. In times of the Renaissance, the so-called Palo de Campeche, a tree of the legume family, arrived in Spain from overseas, the branches made it easier to achieve the black, purple or green dye. Palo de tinte, Haematoxylum campechianum, the black that would become the clearest expression of Spanish fashion. It would be the image of Felipe II and of Spain for a long time, a brand image that would bring together concepts such as austerity, seriousness, rigor or depth. Black versus European color. Black as a symbol of power, not sadness, as a symbol of durability, not poorly understood poverty. This is how the Austrians understood it and this is how the first Bourbon, Felipe V, who dressed in black when he occupied the throne of Spain, understood it. Black are the clothes of Pablillos de Valladolid in the portrait of Velázquez, the painting that Manet praised, indicating that only “it was air that surrounded the little man”. Black would be Coco Chanel's le petite robe noir or Chanel's feminine tuxedo. Black for men and women.
    Black are some of Sergio Romero Linares' horses. Black on a black background, the twist of a painter around a color that is, above all, a concept.
Also black horses on white background. The thesis and the antithesis, the demonstration that the world fits between two colors that some would define as the negation of color. Or its condensation. The absolute prominence and reality of the animal is bearing so is the shadow that they project. to the white background of Velazquez air in which they can
    levitate or to the beach landscape in which they are integrated and where they are destined as protagonists. Because his painting, starting from the Baroque classics, starting from the Velazquez equestrian portraits, travels through contemporary paths that are based on the change of protagonism and on the most current look based on a deep knowledge of the rudiments of painting. Paint stains. The painting provokes sensations. Painting transforms. Sergio Romero Linares is an artist of his time and he erases the image of baroque power, he erases Prince Baltasar Carlos, the Count Duke, Felipe III, the queens Margarita of Austria or Isabel of France. The absolute protagonist now is the horse, as noble or more than its former owners and lords, horses that are stylized, that pose in a perfect firm position or that gallop with the leisurely rhythm of the one who knows captured by some brushes. It is not risky to say that Sergio Romero's horses assume the prestige of ancient portraits, the genre that Instagram prostituted for humans but maintains its dignity and its idea of going beyond a graphic representation: it is the capture of a psychology, even if it is that of an animal. An animal, do not forget, dressed in the highest nobility.
    Against black, white. The horse can also be white. And between the two there can be an infinite palette of colors, as in life. Black and white can be colors of mourning, depending on which culture. Black and white can be wedding colors, depending on the times. In an exercise in looking at the past, the photos of our grandparents and our great-grandparents can show us brides dressed in any of the colors, such are the past times. Fashions will pass, but the essential remains. Perhaps there is the significance of the works of Sergio Romero, the painter who dares to paint a bride in white on a black background. It sounds like literature, like that Lady in red on a gray background, but it also sounds like a pictorial description of inventories from past centuries, catalog cards to
    describe the content of a scene in a very small space. The works of this artist seem to follow the old maxim of the least is the most, even in the title itself: horse, bride, expiration, figure, head, legs ... Joan Miró said that “it was necessary to go beyond the plastic to reach the poetic ”And Romero achieves the perfection of the sonnet playing with the elegance of the hendecasyllables and the supposed ease of the verses of romance. Make the difficult easy. A conjunction that is difficult to achieve but that may have one of its secrets in the gazes of her portraits, the inaccessible beauty and distinction in Sofía's gaze, the spirit that escapes from an Expiration, death turned into meditative silence that merges with the black in the background, the distant gaze of a posing man or woman. All worlds fit into the gazes of
    those portrayed by Sergio Romero, chosen who become transcendent beings, once again Velázquez, like those baroque buffoons who are no longer deformed beings, nor picturesque insane nor burlesque disabled, but characters that transcended their nicknames and their nicknames. Neither Calabacillas, nor Primos nor Niños de Vallecas, each portrait is a world and a human being endowed with the transcendence that a brush grants. Almost a divine function in the hands of the artist.
    White. Black. And body. Another constant in Sergio's work is the human body, the spirit of a man represented in the duality of his nature. Man is body and is spirit. It is present and it is future. He is attached to the earth and aspires to the heavens. A man who expires is the synthesis of a life. On canvas and wood, two materials for a single existence. Sometimes it represents him looking at the skies.
    Others, with closed eyes perched on the ground. But always capturing the maximum expression of the most fleeting moment. A whole life passes through eyes that look to the sky that they try to reach, although their feet cling to the ground. A life that can be the color that still lives in eyes or the black of an already molten body. Fade to black. Ascents and physical and spiritual deaths. The entire curve to which Gaudí attributed divine origin gives shape to a stylized, synthetic body, ascetically slim, with an open hip that reflects the best tradition of the Baroque in the XXI century. Synthesis of a life and the synthesis of a centuries-old tradition. Crosses are not needed for men who are their own cross and who symbolize the best and most naturalistic simplification of Christian iconography. Human and divine paintings that are the triumph of life even though they disguise as death.
    White. Black. Landscape. Body. Look. Skin. Red as a way of veiling in the classic way, filters in the baroque way in the time of the filters of the cameras on a mobile. Women doing red monochromes. Blues that become lords and masters. And a silence that becomes part of each of the works. If silence were to be thought of as an element that makes up a painting, the work of Francisco de Zurbarán would soon come to mind, the scene of Saint Hugo before the Pope in an interview in which there is nothing more to talk about, the downward gazes of the Carthusians in a refectory where meat is an element to be dispensed with: everything is gaze, everything is silence, everything is the white of Carthusian fabrics. There is silence in the looks of those portrayed by Sergio Romero as there is silence in the order
    of a painting by Giorgio Morandi. The silence of gazes that seem to carry the residue of centuries of wisdom, with the acceptance of one's own self and one's own circumstances. Silent faces and landscapes knowing that transcendence is above superfluous dialogue, cheap talk. Carthusian silence that was only broken by occasional greetings: "Brother, we have to die." And a concise acceptance response: "We already know." There can be no more significance.
    Sergio Romero's work draws on that transcendence. Run away from the superfluous. He makes poetry of the everyday, he does meditation on the brushstroke. Nothing against the current. It collides with narcissistic and superficial times. He makes spirit in their anatomies, in their flesh, in a time of silicones, implants and photographic retouching. Create condensed art in times of wisps, craft deep personalities in times of perishable vanities, create realities in times of appearances. It is avant-garde that drinks and learns from the classics to look towards a future where beauty will reign, capturing the soul of things in a time that remains on superficial skins. His kingdom, his painting, is not of this world. Fortunately.
    Graduated in Fine Arts at the Faculty of Fine Arts of the University of Seville in 2015. Previously, in the 2013/14 academic year, he received an Erasmus grant for the Accademia di Belle Arti in Rome, Italy. At his graduation, he obtained the award for the best academic record of his class, for which he would be recognized with the award for university excellence from the Real Maestranza de Caballería de Sevilla.
    He expands his training with different scholarships such as the Scarpia XVII residence scholarship, in the Cordovan town of El Carpio or the prestigious "Antonio Gala Foundation for Young Creators" scholarship, 2015-2016, a fundamental experience for their subsequent creative process. His training continued with courses such as the IV Course on Realism and Figuration by Antonio López García, at the Casa Ibáñez Museum in Olula del Río or the Workshop Meeting and Didactic Laboratory within the exhibition “Spinario. Storia de Fortuna ”that took place at the Capitoline Museum in Rome in 2013.
    Despite his youth, he accumulates prestigious awards and recognitions such as the Acquisition Award of the Villa de la Rinconada, 2018; the Acquisition award of the XVI
    Gibraleón National Painting Contest, 2017; the first prize in the XXVIII Painting Contest of the city Álora, 2017; the honorable mention in the XV Young Creation Contest of the University of Seville or the Acquisition Prize of the XXII Plastic Arts Contest of the University of Seville, CICUS. He has recently received the Grand Prize of the Rector of the II Loyola Andalucía University Contest for his work Red Portrait. Currently, one of his works is part of the TRANSATLÁNTICO exhibition, in Jersey City, United States, at Mana Contemporary together with other international artists. During the year 2021, it will two other solo exhibitions, in the museum of Faro, Portugal and in Palazzo delle Pietre, Rome.
  • More Information
    Documentation: Signed
    Origin: Spain
    Period: New
    Materials: Oil on canvas
    Condition: New.
    Creation Date: 2018
    Styles / Movements: Black & White
    Incollect Reference #: 515660
  • Dimensions
    W. 49.21 in; H. 78.74 in;
    W. 125 cm; H. 200 cm;
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