RCAB 2

11 B orn in Madrid in 1951, José Luis Fuentetaja began selling his artistic work at the famous El Rastro flea market in Madrid and along the pic- turesque seafront in Sitges, where he has lived by the sea for years. His voy- ages through Europe and Canada date from this period, as does his previ- ous existence interlaced with bohemian ambiances and fleeting encounters. In 1970 he had his first exhibition in Barcelona at the headquarters of the Ateneu Barcelonès, where he became friends with people that went on to commission him with his first works as an illustrator in what would be the new edition of Federico García Lorca’s Gypsy Ballads . His first gallery exhi- bition was organized in Barcelona’s Sala Majestic and included a wonderful collection of pencilled nudes that brought him great success and has helped him greatly to move forward with his artistic projects throughout a life that has not always been easy for the painter. Sensitive and restless, disenchanted with Western culture, he has travelled to India on several occasions in search of answers and spiritual rest. Fascinated by the colour, light and the spiritual riches found in India or Nepal, Mumbai or Kathmandu amongst others, he has found the inspiration that plunged him into creating magnificent and vi- brant scenes, bursting with magic realism. Time has shown that there are strong links between painting and photography and that once they are confronted, they become stronger. Speak to us about your passion for both kinds of artistic expression. My interest in painting and photography has a common denominator: essen- tially, artistic expression. Reflecting beauty, light, composition, the power to tell a story, transmit a feeling, express a sentiment through an image…pho- tographs come on the scene as a modern element of transmitting images a hundred years ago and revolutionise the world in general, but especially so in the world of art. When the person behind the camera is an artist, you can catch that magical instant in seconds. Nowadays both formats, painting and photography, often work in union and the results are spectacular. However, painting, for me, is the essence of all art, the magical alchemy of the human being. Is beauty still an ideal in current art? Beauty has been a value in art for all time. Without beauty there is no art. The thing is that the concept of beauty evolves according to periods, fashions, philosophies and humanity’s advances. The concept of beauty doesn’t only refer to the representation of something pleasant or classical. A simple line or spot can hold a great deal of beauty, and this is the evolution of art nowa- days. In this sense, beauty is still an ideal. What do you think of the art that is currently leading the markets? You’d have to first know what kind of art is leading the market these days. I think there is such a huge amount of confusion and so many uncountable trends that in reality one can’t say that any of them predominate. It is true that the new forms of realist figuration are starting to move to the fore. Tell us about your relationship with the Barcelona Royal Artistic Circle. I’ve known the institution for many years and I’ve been to many of the exhi- bitions in the beautiful palace that is its home. It’s a part of Barcelona that I love for its magic. In a more personal sense, I came into contact with it though other members and even the president himself, who suggested I join as an meritorious member. Since then, I’ve been in contact with this veritable in- stitution as often as I can. In its day the Artistic Circle had quite the importance within Barcelona’s social and artistic life: balls, parties and important social events that they are now going to try and bring back. Do you think it’s possible to recover the late-19th and early-20th-century splendour? Of course it can! Although that time is unique, I think the current manage- ment is quite capable of creating a new importance: the same splendour, but adapted to the times we live in. The Royal Circle has had great artistic celebrities amongst its members such as Mariano Benlliure, Ramón Casas, Anglada Camarasa, Joaquín Sorolla, Igna- cio Zuloaga, Benito Pérez Galdós, Joaquim Mir, LLuis Masriera, Ángel Guimerà, Apel·les Mestre, Pablo Picasso, Enric Morera, Josep María de Sagarra, Antoni Gaudí, Pau Casals, Francesc Cambó, Victoria dels Àngels, or Montserrat Caballé – real standouts of their time. All of them are now meritorious members, just like you. What does it mean to be part of such a prestigious list? Firstly, it is a great honour to be part of this institution and know –and feel– that all these sublime artists filled the rooms of this palace at one time or another. Imagining them all working, talking and sharing their wisdom really excites me. José Luis, tell us about your recent artworks – where is your inspiration to be found at the moment? After covering many stages –the last covering more than 30 years in the Gaz- es of Asia Collection– I am at a point of transition at the moment where I am beginning to combine figures closer to me with figures from the past, without forgetting the enormous fount of inspiration India, Nepal and Burma were for me. I am interested in the nude once more, in the urban landscape, but I’m also keeping an eye on portraits. I yearn to discover new techniques and to work on the evolution of my artistic language. Will great art see a renaissance? If we look back, we can clearly see how great art has always been a witness to this history of the human being. Frommy point of view, art will once more be the protagonist of contemporary history after this black period we are going through. Without art, we are empty. The human being needs art and culture to continue breathing, to dream, think, enjoy, to realise or to critique. Without art, the world would be rather boring. █ 'WithoutArt, the worldwould be rather boring. ’ ‘Fuentetaja is an artist of exceptional character and training who has an expert’s knowledge of techniques and resources and a personality none too common in terms of his sensitivity, as well as in the richness of his profound and unblemished lyricism’ Fernando Gutiérrez González (1911-1984)