Make your own free website on Tripod.com

JG Notes

poetas.jpg

"Ce que j'aime, c'est un mystère...
Je suis sur sa trace (...)
le jour où j'en serai capable,
je le manifesterai et l'amènerai à se révélever"
 
Hermann Hesse, Narcisse et Goldmund

Woman With Veil - Mujer con velo
veil.jpg
Icaro US Art Gallery, Long Beach, Ca. - Ravena Art Dealer, Ohio.

"The memory
of you filling me
of satisfaction’s scent
smiling through the air
breathing unadulterated euphoria
into our floating libidos
is so vivid.
Mmmm...so warm
in your arms
my cheek resting
on your beating heart
your arms still seducing me.
Tonight
like the raindrops
that slip and slide outside my window
you are beyond the reach
of my fingers and tongue
but the leading man
in my erotic thoughts"
 
Poetry by Lydia Shutter on the
Woman with Veil by Gurmandí
Starlite Cafe. Miami.

Old Door
viejapuerta.jpg
Vieja Puerta

"Practiqué el realismo más hondo en la serie de las puertas viejas, las modelos tomadas de las existentes en casas abandonadas o descuidadas servían de sostén a cierto hiperrealismo de papeles enchinchados, pintados con refinadas pinceladas que acentuaran la imagen representada. En estos papeles agregaba a modo de bocetos o pinturas de ensayo, paisajes, figuras, elementos rediseñados y todo cuanto me sirviera como expresión. El magnetismo de esas puertas radica en cierto sentimiento hacia lo vetusto, hacia los elementos comunes con historias y discreciones propias del desconocimiento de las razones por las que las puertas estaban en tal estado, sobre las que a la vez, en gratos trompe l’oeils realicé mis intenciones estéticas"

 

"I tried the deepest realism during the Old Doors collected works from models I found so old in abandoned houses as dumped by themselves. Those doors painted on canvas served as the place where I put some hyperrealist papers with landscapes, figures and other models. The appeal of those images is in the sentimental sort of ideas that become to the observer through the planned, esthetical trompe l’oeils I painted there"

shippeando.jpg

“Los estudios del movimiento del agua y sus variantes cromáticas son un desafío importante para la pintura del paisaje marino. Sin ser este mi tema principal, es al pintor necesario el estudio de esas ondas y reflejos. Nada mejor entonces que darse un paseo por donde haya modelo de trabajo y dedicar un día, de vez en cuando”

 

“Water studies are important for the knowledge of colors variations and reflection of the water surface and its movements. They are important to the maritime landscape. Even when this is not my main theme, it’s useful to the painter. Nothing better then, than going once in a while to a place where to study it

Abandoned, oil on canvas (sold)
abandonado04.jpg
Abandonado - Colección privada.

blogs.gif

frutalesbaradero.jpg

“Veo el paisaje y nada sobre ni falta a lo que deseo representar. Para pintarlo alcanza con prestar atención a cada silueta y cada hoja que el viento mece. Pintándolas como las veo, me es inevitable dejar una sola fuera del cuadro. Hay una razón por la que cada uno de estos sujetos plásticos vive en el arte y en la naturaleza”

 

“In landscape nothing is lost or more than what I want to represent. It is sufficient to pay attention to each shape; each leaf wind blows in it to paint it. Representing as I see them, it is unavoidable to leave just one off the work of art. There’s a reason why each of those artistic objects is alive so in art as in nature”

garzas-jorge.jpg

Catálogo - Catalogue

Nota sobre las Cajas Temáticas

CV / Currícula

These top quality artworks are produced by Jorge Gurmandí and supplied direct from his studio workshop. 
Any pieces are supplied not mounted, thru the formal ways of mailing, plus post costs to the buyers.
You can order or ask for further information on any artwork by mail from:
Jorge Gurmandí House Studio /
gurmandi@gmail.com

paint1.gif

All rights reserved. Worldwide copyrights to all works illustrated throughout this web site are retained by Luis Jorge Gurmandí. Any work herein may be downloaded for personal reference but may not be reproduced in any form for any commercial purpose whatever without the specific, written permission of Luis Jorge Gurmandí