Pilgrimage (2005)
Watercolor and painting are subjects that have completely different techniques. The spontaneous luminosity of watercolor claims the right hand that can get the right line that does not allow repetition and make art, among other conditions, its principal virtue. The painting has its own requirements and also a wider range of possibilities and preferences. Moving between these two tendencies is not common and do it well it can be exceptional.
From his student years at the National School of Fine Arts, Theobald Nina demonstrated his talent for drawing, a quality that earned him a first prize in that field, which was followed by many other distinctions. While he recognized mostly for his work as watercolor, his paintings was also awarded in various contests leaving established their ability to express themselves in both media.
Nina's watercolors are "loose", transparent and often reproduce landscapes where nostalgia is a constant. Moquegua original, the artist translates his watercolor the distance of the soil where peace lies with sweet abandon sunny in the afternoon or twilight on, but always calm. The use of color seems to follow the same slogan and thus produces a kind of mood that welcomes the viewer to make a living element of the same longing.
His painting, however, travels the paths marked by Expressionism. Composition, character and color are given the service a bit disturbing and condescending speech in clear contrast to aqueous and pastoral work achieved in watercolor. Suddenly we are faced with concerns laden images of various kinds: social, metaphysical, familiar. Human always, always lively and sometimes poignant, without ever at any time to exaggeration or caricature of our own realities. The artist does not intend to show anything that is not from their particular view the pictures of everyday life, leaving the viewer concerns about the discovery that we appeals beyond the immediate.
This exhibition gives us a rare opportunity to meet with both trends: painting and watercolor Nina Theobald, each with their own qualities, both reflecting the sensibility of an artist in his transit through such varied hues and diverse as life itself but deftly sewn together with creative prolixity. Delivered the message is the task of deciphering the public knowing that any interpretation is valid. Finally everyone has the ability to feel and that's enough.
Fernando Torres
Cultural Director ICPNA
Presentation Exhibition "Pilgrimage" (2005). Exhibition of oil paintings and watercolors of North American Peruvian Institute of Lima.
CELEBRATIONS I've always
captivated the rest of the light from the shadows. The flash of the floor from the silent, soft touch paper in the world of the unspoken: the immensity white.
The writing on the paper now reads
the gentle waters
Sensing warn all the unfinished suggested: the body illuminated by the mirror that reflects the transparency of desire and vision of the unseen, with a voice that is broken and reborn as a ghost to watch over all things. Imperceptible
the secret white
pm
Theobald
Nina works reflect the fullness of the moment: the dream of the mystery, the other view, naked voice that breaks with the fullness of the shadows and leave traces in the body. Word we do not spell because doing so dilute as an unattainable mirage.
If the stone falls
Silence Is water
So looking at his work, I feel the importance and maturity of the stroke that moves us from the depths of the inner and seeps increasingly in the
that recreates the look of plastic work as a broad and undefined feeling, how are you words to write them are hiding in the fog.
Alfonso Cisneros Cox
Professor at the University of Lima.
Presentation for the exhibition at the Art Gallery of Commerce Bank, Miraflores, Lima, 2003.
TRIBUTE TO REALISM (OILS)
This shows the latest work of Theobald Nina is a great new artist's reunion with his homeland, in Moquegua. And not only her, but with broader environment. With its distant port of Ilo, just small and silent yesterday, today, dynamic and booming. Also with the urban geography of Arequipa.
Theobald began as a great abstract painter. He always remembered master Miguel Angel Cuadros was at his side in those early and decisive moments of his professional start. And in that aspect, Theobald achieved distinctions and awards honorable mentions. Not only here but also abroad.
However
deserved to have achieved these successes, it asbtracto Theobald left by the figurative. For the urban and rural land. The bright and serene goegrafía of Moquegua was for him a temptation and a challenge, but also fills the coast to consolidate its work, the stone arches and the corners of the convents mistianos also captured his eagerness.
Theobald Now he returns with the theme permeated some great blues, capturing the landscape and, for some, puzzling architecture moqueguana. The landscape of his village. There, her flowered courtyards houses, bright, lonely, its narrow streets and fraternal its ornate doors framed in stone. Squares and plazas and shadows evoke nostalgia. The profile of the temples, with their graceful and sharp needles of the towers, outlined under a sky always blue and full of light. The central courtyard of the ancient historic National College of Liberty, surrounded by massive columns, like a silent tribute to past generations who passed through there at times and distant. Artist
transhumant Theobald also been caught with his palette moqueguano the surrounding villages, city dweller. Yacango the historic and rural, peasant to his soul, now pierced by silence and plunged into obscurity, quietly muttering ancient and distant voices history of better times. Tapeworms Tumilaca home gardens, covered with vines, surrounded by trees, emerging somewhere in the gentle valley, wanting to tell intimate secrets.
Theobald
This sample is attractive Nina Moquegua theme seems to tell us that everything passes. Desaparceren that loved ones on our side and that eventually left us alone, and repeated like an old song, our memories irrestañables, generous images and a trail of love and melancholy.
Ismael Pinto
Professor at the University San Martin de Porres and Cultural Director the Daily Express.
Presentation for Solo Exhibition Gallery 715 San Borja, June 2001.
REFLECTIONS OF TIME
A haiku (traditional Japanese poetry) by Matsuo Basho always vibrates that part strange and mysterious in us all, that kind of string sounds only when something profound is "touched" and time is vibrating from the intensity of the stimulus.
Ah! That intern
If I get
haze but no longer.
I've always wanted in watercolors and poetry this tipping point at which it is based on time and space, the silence, the internal memo, the light sound.
That road goes No one now, but the twilight
Theobald Nina has surprised me, not their technical quality, which in itself speaks of his ability acuarelística, but some of his works have succeeded in making "sound" that string, the vacuum has painted and stained the air. One or two works enough to feel that fleeting state and worthwhile for all those years coloring papers and chasing lights that are arguably beyond Nina has started exploring the inner landscape. Let's look at this series of watercolors, to ourselves and hear the music colored sunset. Daniel Peña
Professor in the Art Museum of Lima.
Introduction to Watercolour Solo Exhibition in Gallery 715 San Borja. Lima
COMMUNICATION AND DEVELOPMENT
The young painter Theobald Moquegua Nina studied at my workshop several years, graduated in 1988. During his studies at National School of Fine Arts received the highest marks and awards. Since those early years of student showed as a tireless worker in possession of a valuable inquiring euphoria that led to its proposal today. Proposal loaded deep sense testimonial, which is reflected the promise and vigorous temperament plastic.
In its inner rhythm of dramatic expression, there is no room for decoration or for sentimental falsification, his art is transcendent aesthetic objectivity, which can only be born of his deep love for humans.
All his painting is based structurally counterpoint summary of chiaroscuro in a rough contour clamped by an ingenious drawing and filling of dense matter. The coloring is sober and consistent with the proposal, used, preferably ranges deaf consisting of land, black, white and a wide and varied range of grays excellent value.
Nina
Mamani, in all his works admirably demonstrates a definite style and a unique technique for categorical view of life through a thrilling beauty of torn gestures. In the universe that is created, its composition is opposed reasons: simple and complex calm and agitated in which his figures are embedded or emerging with dramatic role.
The faces of these beings are masks close to the cry of the majority in an insane society.
Miguel Angel Cuadros
Professor at the National Superior School Of Fine Arts of Peru. Presentation for the 1990 Individual exhibition at the Alliance Francaise de Miraflores, 1990.
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