Every work of art is the child of its time, and often the mother of our feelings.
Our soul, still in early awakening after a long materialistic period, contains seeds of despair, lack of faith, lack of goal and meaning. The nightmare of materialistic ideas still remains and the life of the universe becomes a painful game without sense.
Where is life leading to? Where does the artist's soul cry out to, if he participated in the creation? Proclaiming what? "Sending light to the depths of the human heart is the artist's mission," says Schumann. "The artist is a man who knows how to draw and paint everything," says Tolstoy.
Spiritual life, that which belongs to art, and of which art is just one of its most powerful agents, is a complex movement, but determined, translatable into simple terms, leading onwards and upward. This movement is knowledge. It can take various forms, but always having basically the same inner sense, the same purpose...
Colours on a palette evoke a double effect: 1. A purely physical effect: the eye is charmed by the beauty of colours. The viewer gets a sense of satisfaction; joy ... the eye is excited, similar to the joyful impression when we eat a delicacy. Then it calms and cools like a finger when it touches ice. It is therefore a physical sensation, which doesn’t last long. They are also shallow and don’t leave a lasting impression when the soul closes. Like the physical sensation of ice, if it penetrates deeper it awakens deeper feelings causing a range of psychological experiences and so the impression of surface colour becomes an experience ... As man develops, he expands the circle of qualities that contains within different objects and beings. When a high degree of sensitivity is reached, objects and beings acquire inner value and finally internal sound ... 2. The second result of the contemplation of colour is the psychological effect produced by it. It is here that the psychological strength of the colour appears, provoking a mental vibration. Physical strength is the basic way in which colour touches the soul...
In general, colour is a means to exert direct influence on the soul. Colour is the key. The eye is the hammer. The soul is the piano with many chords. The artist is the hand that, by this or that key, vibrates the human soul. The harmony of the colours is based solely on the principle of inner need.
Musical sound has direct access to the soul. It immediately finds its resonance because man "takes music into himself" (Goethe).
The inner need arises from three mystical causes and consists of three mythical needs: 1. every artist, as creator, has something in him which calls for expression (the element of personality). 2. Every artist, as a child of his age, is impelled to express the spirit of his age 3. Every artist, as a servant of art, has to help the cause of art (the pure and eternally artistic element that exists in all men, times, places, manifested in the works of art of each artist, each nation and every era and, and as the main element of art, knows neither time nor space).
The effect of inner need, and therefore the evolution, of art, is a progressive expression of the eternal objective in the temporary subjective.
The six colours which make three pairs of opposites form a big circle ... to your left and right the two main choices of silence: birth and death.
The artist’s real work of art is born mysteriously by a mystical route. Separated from it, it acquires its own life, is a personality, an independent subject individually breathing and having real material life ... the artwork lives and acts, works at the creation of a spiritual atmosphere.
Painting is an art, and art in the overall sense, not a useless creation of objects that fall apart in space, but it serves as a useful force in the development and awareness of the human soul.
First, the artist must try to transform the situation by recognizing his duty toward art and toward himself, and not consider himself to be master of the situation but as the supplier of designs whose duties are accuracy, great and sacred ... The artist must have something to say because his duty is not only to master but to know how to adapt content.
Beauty is something that comes from the inner psychic need. Beauty is something that is beautiful inside.
Maeterlinck, one of the first composers of the modern art mood that produced the art of tomorrow, says: Nothing in the world is so athirst for beauty as the soul, nor is there anything to which beauty clings so readily. And on this earth of ours there are but few souls that can withstand the dominion of the soul that has suffered itself to become beautiful.
Vasili Kandinsky. Concerning the Spiritual in Art. ed. Paidós Ibérica, SA Mariano Cubi, 92, 08021. Barcelona. 1996

The question of form
Different artistic choices from any era are grounded and fertile if they have truly emerged from a strict inner need, if they have been created according to the spiritual force that guides every artist. The question of form is an erroneous one, as it is essential that the form was born of an inner necessity that is organized to give an account of its content in an efficient manner.
"Only authentic creations of art exist, those which possess a soul (content) in their body (form) ... The world is full of resonances. It is a cosmos of beings that have spiritual action. Dead matter is a live spirit.

Painting as pure art
The shape of the artwork is the material expression of the abstract content. The beauty is the relationship of content to form, that is, the relationship between the work and the emotion that stems from the artist, or the emotion that it provokes in the viewer.
The work therefore, in the form of the outer material enables the communication of the intangible content, the language spoken from soul to soul, of emotion.
If we look at the spiritualization of aesthetics, the painting, whilst being pure art is an art in which the spiritual element separates from the bodily element and develops independently.
There are two elements which constitute the artwork; the inner element and the outer element.
The inner, created by the emotion in the soul, is the content of the work. There can be no work without content.
For content that lives in principle "in an abstract way,” to become a work, it is necessary that the second element, the exterior, contributes to its realization. For this reason the content aspires to a medium of expression, to a “material” form.
The work is thus an inevitable and inseparable fusion of the inner and the outer, i.e., content and form.
In the same way that a word does not determine the concept, but the concept the word, the content determines the form: the form is the material expression of abstract content.
Freedom is expressed in the effort of the spirit to free itself from the forms that it has already fulfilled –the old forms- and to create new ones, infinitely diverse.
This apparent total freedom and the intervention of the spirit are due to starting to feel the spirit, the inner resonance in everything. At the same time, this capacity we have starts to mature, thanks to the apparent total freedom and the imagination of the spirit.
The forms employed for the embodiment (of the spirit, may easily be divided between two poles: 1. The great Abstraction and 2. The Great Realism ... these two poles open two paths leading eventually to a single goal.
Between these two extremes lie the numerous combinations of the abstract and the real, with their various correspondences.
These two elements have always existed in art; one must be designated as "purely aesthetic" and the other as "objective." The first is expressed in the second, while the second is subordinate to the first. It is necessary to find the right dose of each in order to reach the top to reach the peak of the ideal in absolute balance.
The element "aesthetic" when reduced to a minimum must be recognized as the most powerful abstract element.
We see then, in short, that although in Great Realism the real element appears ostensibly important and in the abstract element appears weak, _ the reverse
relation appears in Great Abstraction_; basically these two poles are equivalent, i.e. with respect to the objective. Realism = Abstraction. Abstraction = Realism

The past, the present and the future
The dynamics of pictorial creation comes from two pairs of opposing evolutionary movements: At the level of the medium, can distinguish the analytic movement, which involves isolating the different materials: essentially the colours and shapes, and synthetic motion, which addresses the problem of the harmonious combination of the medium: the pictorial composition. At the level of demand in opposition are, the materialist movement "which apparently reaches its logical conclusion" and the spiritual movement destined to take over and strengthen the expansion.
A third partner joins this group, uniting the logical progression, linked to the problem of the realization of the content and intuitive progression, linked to its own content
But all these opponents converge and this convergence is what determines the wealth of the artistic creation, which is strengthened thanks to these dynamics.

Abstract Art
The conversion of values: The perspective shifts from the outside to the inside, from the material to the spiritual ....but the material retains, however, the significance that corresponds to it.
The inner value of the formal element in the broadest sense ... gives life to abstract artworks.
Abstract art has matured through a methodical analysis of the external material of art. Resulting in Impressionism, Neo-impressionism and Cubism. From this point, an analysis of the inner value of these methods can be made. This is the job of abstract art.
The great problems of our time, which are also those of Art Nouveau, can be resolved with a detailed study of the external media and their inner value: they are the problems of synthetic art and aesthetic science, of content and form...
... "The problems of art ": 1. The problem of the elements of the various arts, how to distinguish the fundamental elements from those that are only accessories 2. The problem of the application of the elements, can application still be purely experimental without taking into account the heartbeat of the work: the problem of construction, 3. The problem of the subordination of the elements and the construction the law of this enigmatic pulse: the problem of composition.
In painting, for example, while pictorial elements still hang on the scaffold
of natural forms, secondary resonance will be inevitable, and consequently the pure law of the pictorial construction can’t be found. The problem of the composition is then surrounded in the depth of darkness, and the road leading to the "nervus rerum" remains impassable..

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