Bugallo. Antology

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	(1) American Gothic, after Grant Wood zoom	He paints with an impeccable, highly adequate and expressive technique, to give shape, color, texture, light and shadow (mainly light and shadow), to build a language. But knowing full well that that language is not painting. He uses the old themes as a link to reach, from the theme of the theme, painting itself. But he is conscious that the iconographic argument is not painting. Not even when he summons our dearest ghosts, when he calls on the most genuine emotions. Trying to steal from the masters –those artists whose art is perennial and always in force- something of the vertiginous and overwhelming mystery their works comprise, as if he wanted to define their essence inside them, and therefore the essence of painting. *Federica Palomero*
	(2) Still Life, after Zurbarán zoom

	Bugallo allows a new expression that has nothing to do with the icon of the original reference. His neo-iconographies do not have the mere transitive function of leading to the pictorial signification but have the value of being meaningful themselves. The work is proposed as the breaking of an order of pictorial and sign conventions.			(3) Madame Moitessier, after Ingres zoom
	Milagros Bello

	(4) Meninas, after Velázquez zoom	In his works some of the landmarks in art are re-taken: the theme is recreated in new forms and new techniques. Thus we see a Venus of Urbino, silhouetted, beautifully synthetic, placidly lying down in the scarceness of its shapes and colors; Marat’s Death, moving in the purity of its classical rhythm and in its countless connotations: the French Revolution, the humanistic ideals, Marat, David… and Bugallo again. The original image is enlarged, it is covered with new textures, new colors, it comes near the symbol; it speaks to us from several levels: that of the original image and its whole context, that of the new image, recreated, and that of painting in general; because every reelaboration is, in the end, a question and, in this case, the search of painting. *Katherine Chacón*
	(5) A Portrait of the Cardinal, after Raphael zoom


	(6) Battle of San Romano, after Ucello zoom	(7) Untitled (Infanta Margarita, after Velázquez) zoom	(8) Untitled (Piedad de Avignon) zoom
	The attempt to understand and express a sense in art is the conceptual scaffold on which Bugallo’s recent pictorial production stands. It is clearly revealed by the compact relation the artist has managed to establish between two basic components that define his work: an evocative character ( seen in the development of a synthesizing intention) and a conceptual one (conveyed by the repetition of images or elements with a particular semantic or symbolic power). Adolfo Wilson


	(9) The Dead Christ, after Mantegna zoom		(10) The Dead Christ, after Philippe de Champaigne zoom


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© 1999 Francisco Bugallo All images are protected by international copyright laws. Reproduction without a written authorization is forbidden.