José Manuel Merello​​

​​Current art. Original art, 21st century paintings. Contemporary Spanish Painters. Art and investment.

VARIOUS

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I D E A S...

​LIVING NATURE

​​​"For a painter like me, obsessed with the composition and structure of my paintings, everything in painting works as in a still life. The authentic compositional challenge of every painting is that it “works” in all its elements; that each of its pieces mesh precisely and "breathe" with their adjacent ones and even form complex connections with remote areas of the painting, like intricate neural networks in continuous synapses. This hidden interconnection means that apparently poorly executed paintings have a mystery that sublimates us, a strange rhythm that we don't know where it comes from
  

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buy online artworks. contemporary painting, painters artists-jose manuel merello.-story for a child.-81x100 cm-canvas

Cuento para un niño.
81 x 100 cm
Mix media on canvas

buy paintings online. contemporary painting, painters artists-jose manuel merello.-children building a sand castle.-81x100 cm-canvas

Niños construyendo un castillo de arena
81 x 100 cm
Mix media on canvas

Fantasía. El gato azul

97 x 130 cm
Mix media on canvas

Caballos del sol

73 x 92 cm
Mix media on canvas

buy paintings online. contemporary painting, painters artists-jose manuel merello.-boy with blue horse.-92x73 cm-wood

Niño con caballo azul
92 x 73  cm
Mix media on wood

​ARTWORKS and PAINTINGS. CONTEMPORARY ART

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Romance
81 x 100 cm
Mix media / Canvas


buy-paintings-online-contemporary-painting-merello-painters.-the-child-of-the-harmonica-146x114-cm-canvas

El niño de la harmónica
146 x 114 cm
​Mix media / Canvas

buy-paintings-online-contemporary-painting-painters-merello.-still life-of-abril-100x81-cm-canvas

​Bodegón Abril
81 x 100 cm
​Mix media / Canvas

buy-paintings-online-contemporary-painting-painters-merello-artist.-the-singer-guitar-73x54-cm-canvas

La guitarra del cantaor
73 x 54 cm
​Mix media / Canvas

buy-paintings-online-contemporary-painting-painters-merello-artist.-the-old-man-and-the-moon-65x50-cm-graphite-carbon

El viejo y la luna
Graphite & Carbon

buy-paintings-online-contemporary-painting-painters-merello-artist.-moon-horse-73x54-cm-canvas

Moon horse
73 x 54 cm
​Mix media / Canvas

buy-paintings-online-contemporary-painting-painters-merello-artist.-golden-portrait-of-vicente-the-basket-maker-130x81-cm-canvas

Retrato dorado de Vicente el cestero
130 x 81 cm
​Mix media / Canvas

buy-paintings-online-contemporary-painting-painters-merello-artist.-brunette-woman

Mujer morena
Mix media / Paper


buy-paintings-online-contemporary-painting-painters-merello-artist.-fantasy-2

Fantasy 2
Mix media / Paper

​TEXTS ABOUT ART...

​The light of doubt

​​"A painting, a good painting, must be "broken", torn, articulated around doubt and incessant learning. Personally I am not interested in those works -both contemporary art and classical art- that close in on themselves without leave a gap to a new air...  

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Fantasy

Mix media on paper

​Color in modern art.

THE LIGHT OF DOUBT

"A painting, a good painting, must be "broken", torn, articulated around doubt and incessant learning. Personally, I am not interested in those works -both contemporary art and classical art- that close in on themselves without leaving a hole to a new air, just as I am not attracted to paintings with predictable and conscious errors.The Great Masters of all times advance in a wise clumsiness that at its peak, stripped of all certainty and vanity, shines like a clean and tremulous. The light of the human spirit."

THE SECRET LIFE OF PAINTING.

"Painting is a state of mind, "a state of the soul", said Joaqu ín Sorolla. The painter who makes his work a lifestyle paints all day, every day. He paints even when he is not painting. When he sleeps he paints, when he be awake paints. The gift of being a painter carries hidden poison and the sweet charge of total dedication and delivery. Painting is difficult and requires absolute attention of the mind and hand in cold, silent and constant observation. You have to be able to retain enormous amounts of color combinations, spaces and lines. It is essential to equip yourself with innumerable technical resources, precise knowledge of materials and keep everything alive and updated to be able to use it at the most unexpected moment. But even in the case of having all this well greased and up-to-date, even so, you run the enormous risk of not knowing how to stop in time. The most critical moment for a painter is deciding when the time has come to consider a painting finished.


In painting it is easier to sin by excess than by defect. And that's why I don't find anything more fascinating than the quiet, silent and still work that involves waiting for the painting to speak to you, for it to finish painting itself. This delicate moment can occur in the most unexpected place and at the most inappropriate time and requires being alert and knowing how to catch it on the fly. I have always had the habit of spending many hours painting without painting, just looking at my paintings, placed everywhere, or even recording them, living them, while I walk down the street or in any other place and circumstance: I try to attend to them and listen to them with the fresh mind, as if they were not mine but the work of an enemy, with coldness and even contempt many times, and, miraculously, from this distance springs the own and secret life of painting that decides on its own that it already is and which is enough to explain itself. When overwhelms a painting for me and the dialogue with his world turns into a battle, then I leave him isolated, isolated in a corner and after time -days, months, or even years-, when I finally rescue him, I see as excited as sometimes punishment becomes forgiveness and how from this comes the astonishing discovery of the work that has managed to finish itself in solitude. In that instant, exhausted, he admits that the painting no longer belongs to you. This is part of the magic of the art of painting.

Maybe this is the inspiration. The light that is hidden behind a mental process, an unwritten equation with hundreds of parameters that often resolves itself while waiting, who knows, for one day science to be able to capture the DNA that takes time under the magic of art. " © José Manuel Merello

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I D E A S...

​LIVING NATURE

​​"For a painter like me, obsessed with the composition and structure of my paintings, everything in painting works as in a still life. The authentic compositional challenge of every painting is that it “works” in all its elements; that each of its pieces mesh with precision and "breathe" with its adjacent ones and even form complex connections with remote areas of the painting, like intricate neural networks in continuous synapses. This hidden interconnection means that apparently poorly executed paintings have a mystery that sublimates us, a strange rhythm that does not we know where it comes from but it warns us that there is art beating in its clumsy or "ugly" seams. Many of these poorly made, ugly paintings are admirably coordinated inside, and no matter where we cut them, they continue to be saved as paintings. self-regenerating like the amputated tail of a lizard. That is why I am passionate about almost all artistic currents and in the same way I do not distinguish between themes or genres in painting. They all work the same. At the end of the day, they are all a still life, a living nature - never dead - where we arrange the elements to form a dynamic space that the viewer activates and makes breathe with their eyes through sensitive observation. A landscape is a still life; The sun, the clouds and the wide fields share and feed each other as do a bowl with the fruits it contains and the table that supports it. Even a portrait, if it is good, is governed by these hidden counterweights that give it life. Even Las Meninas by Velázquez would be like an extraordinary still life - ethereal and light in its sky, dense and heavy in its humanity - with deep and rich spaces that speak to each other following the compositional laws of the still life genre. A random cut in the sky of Las Meninas contains all of his art, maintains the nerve and cadence of the genius, his unmatched work, his trapped air; A single strand of Infanta Margarita's transparent hair is already worth a world, a world that speaks in perfect plastic synchrony with, for example, the dense and unctuous fur of the seated Great Dane in the painting. Here each part contains the whole, and, as in the scapulars and relics of the saints, from a tiny piece emanates all the grace, all its miraculous capacity. "
"An unmistakable sign of failure in a painting is the suffocating bloat between its parts. If there is no breathing between its fragments it will never be able to function or make the eye travel between the different stories and plots that it hides. The paralysis and fatigue of the eye is the death of all painting. When I paint, knowing all this, I always arrange my objects and my subjects as in a still life, working on a whole but with the care and effort to take care of the small, the imperceptible feature, the small living crack that diverts the path of the delicate drop that slides, like a tear, precisely drawing the orography of the pictorial layer. And I do it this way because I know that it depends on these small worlds that activate some plastic emotion in the viewer and the painting begins to work, from there, in all its machinery. Nothing more can desire all painting to exist: only being activated and initiated through the fluid and attentive observation of an unprejudiced viewer. The rest, thanks to the miracle of art, will work on its own." © José Manuel Merello

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