Beyond any sign of nationality, they have believed that painting was the ideal mechanism to reflect a life lived in the difficult aesthetic context of silence, of meditation, far away from the great circuits, which has not prevented them from giving extremely interesting responses.

Figurations

The artists gathered in this volume prove the plurality of languages, personal situations and strategies and, in short, the idea of vertebrating art that, on a few occasions, is related to their native country, understanding this link as an element of identity a priori. Quite on the contrary, even though they are either contemporary of the Innovators of the historical figurative Avant-garde of the pre-war period, or of the immediate post-war period -generations that stressed the specific nature of the physical and spiritual territory as well as the anthropological and ethnographic conception- they did not put special emphasis on their linguistic identity. This is perhaps explained by their fortuitous personal points of view and by their peculiar ways of understanding life and aesthetics in the peak of their careers.

That is to say, these artists bring us face to face with the difference between their existential situations, whose circumstances, characterized by their singularity, have done nothing but reinforce the value of painting as a universal code beyond the cultural, linguistic historic or generational community that has gathered them under the title of Artists Painters. Beyond any sign of nationality, they have believed that painting was the ideal mechanism to reflect a life lived in the difficult aesthetic context of silence, of meditation, far away from the great circuits, which has not prevented them from giving extremely interesting responses.