David Padilla y la mirada de la modernidad
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2022-12-13
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(ES) David Padilla Martínez (Jaén, 1958-2016) convirtió la pintura en la máxima pasión de su vida. Se formó en Sevilla, residió en Málaga donde conoció los ecos de la modernidad plástica y regresó a Jaén donde puso en pie una obra alejada del costumbrismo de la época y adscrita a la singularidad y la heterodoxia. Sus aguadas primero y sus ilustraciones para la prensa y el mundo editorial después marcaron las dos grandes etapas de su vida artística. Fue mejor artista que pintor. Conocía sus limitaciones y el ancho horizonte de la excelencia. Pero ha habido pocos pintores en estos treinta últimos años con una mirada más lúcida, aguda e intelectual que la suya, capaz de hacer de sus pinturas un tratado de reflexión, experimentación y síntesis de los mejor de las artes plásticas españolas del último medio siglo.
(EN) David Padilla Martínez (Jaén, 1958-2016) made painting the greatest passion of his life. He trained in Seville, lived in Malaga where he met the echoes of plastic modernity and returned to Jaén where he set up a work far from the ‘costumbrismo’ of the time and ascribed to singularity and heterodoxy. His gouaches first and his illustrations for the press and the publishing world later marked the two great stages of his artistic life. He was a better artist than painter. He knew his limitations and the wide horizon of excellence. But there have been few painters in the last thirty years with a more lucid, acute and intellectual gaze than his, capable of making his paintings a treatise on reflection, experimentation and synthesis of the best of the Spanish plastic arts of the last half century.
(EN) David Padilla Martínez (Jaén, 1958-2016) made painting the greatest passion of his life. He trained in Seville, lived in Malaga where he met the echoes of plastic modernity and returned to Jaén where he set up a work far from the ‘costumbrismo’ of the time and ascribed to singularity and heterodoxy. His gouaches first and his illustrations for the press and the publishing world later marked the two great stages of his artistic life. He was a better artist than painter. He knew his limitations and the wide horizon of excellence. But there have been few painters in the last thirty years with a more lucid, acute and intellectual gaze than his, capable of making his paintings a treatise on reflection, experimentation and synthesis of the best of the Spanish plastic arts of the last half century.