Maria Veronica Leon V artist from Ecuador in Paris

DANCE THEATRE

 

MARIA VERONICA
MARIA VERONICA
1. Click here to see MARIA VERONICA Dance-Theater Drawings 2001-2005 in Quick Time

MARIA VERONICA
MARIA VERONICA
Her drawings......
MARIA VERONICA
The lovingly human dimension of Maria-Veronica Leon’s art is found in her drawings, in which she creates masks and admirable portraits.
Her drawing seems to have been taken surreptitiously not only from another artistic expression, but also from one of the greatest contemporary dancers whom she accompanied for a long time on her tours, Pina Bausch.
In small formats on paper, the pen traces a nascent turmoil. The inexpressible silence of the body evaporates a bit like in Seurat’s pointillism. Bodies stretch themselves in beauty and desire and then fold back in on themselves. Perhaps they’re suffering; another time, they expel life’s energy, indulge their sensuality and allow themselves to be looked at, adored.
The precision of bodies in movement is reminiscent of the sublime Degas; he also being close to the dancers and their young malleable bodies.
That’s without mentioning the performance art and videos of the vast visual repertoire of this Ecuadorian artist. Or her exceptional life, travels and meetings.
Another time perhaps... Few contemporary artists have the conviction that they are fulfilling a mission they’re destined for through their art; it feels good!
Ileana Cornea Paris March 2008
Art critic and curator
MARIA VERONICA
MARIA VERONICA


1. Click here to see MARIA VERONICA Dance-Theater Drawings 2001-2005 in Quick Time

MARIA VERONICA
MARIA VERONICA


About the work of Maria-Veronica Leon Veintemilla

 

Maria-Veronica is an international artist. A society artist too, in the noble sense of the word, having painted portraits of various famous people,  the most recent being the great Spanish tenor, Plácido Domingo.
I witnessed the final touches being made to this charismatic face and realised how an almost insignificant dab of paint can change the whole         expression of the face. A drop of white and, there was light!
On a commission for the Musée Galliera in Paris, the artist is creating a veritable saga around the figure of the Duchess of Galliera, fine arts     patron, where the art of portraiture meets with the art of precious stones,fabrics and patterns and in which she uses all herimagination and         creativeness to depict the lace decorating the dresses of her light, bizarre figures.
The word baroque,of uncertain origin according to Le Petit Robert, probably of pre-Roman origin due to the suffix “õccu”, is fairly widespread in theIberian region. It also says that in Portuguese, the word barroco was initially used to describe a rock, but also an irregularly-shaped pearl. This  is what we see in the work of Maria-Veronica… At a given moment, due to her use of interlacing effects, the well-made order of her canvases starts tomove.
All her drawings depicting dancers retain this movement, this perpetually changing vitality.
Their expressive force is so human and authentic that we can easily understand how they were drawn within the dance company of the great             choreographer, Pina Bausch... When talented artists meet and exchange their artistic experiences, their work becomes even more fertile.

 

Ileana Cornea
Art critic and curator
MARIA VERONICA
MARIA VERONICA
Sur la creation de Maria Veronica Leon Veintemilla
MARIA VERONICA
Maria-Veronica est une artiste internationale. Une artiste mondaine dans le sens noble du terme, aussi.
Elle a réalisé les portraits des personnalités célèbres, le dernier étant celui du grand ténor espagnol, Plácido Domingo.
J’ai assisté aux dernières retouches de ce visage charismatique et je me suis rendu compte combien une touche presque insignifiante de peinture peut modifier toute l’expression du visage. Une goutte de blanc, et la lumière fut !
Pour répondre à une commande du Musée Galliera à Paris, l’artiste réalise une véritable saga autour de la figure de la comtesse de Galliera mécène   des Beaux Arts où l’art du portrait rencontre celui des pierres précieuses, des tissus et des motifs. Elle déploie toute sa fantaisie pour rendre lesdentelleries qui ornent les robes de ses personnages légères et bizarres.
En fait le mot baroque d’origine obscure, nous dit Le Petit Robert, probablement d’origine préromaine à cause du suffixe – õccu est répandu un peu partout dans la région Ibérique. Il nous dit également que dans la langue portugaise, barroco est utilisé initialement pour désigner un rocher, mais aussi une perle irrégulière. Il est de même dans la création de Maria-Veronica… À un moment donné l’ordre bien constituée de ses toiles, en raison de entrelacs se met à bouger.
Tous ses dessins représentant des danseuses gardent ce mouvement, cette vitalité en perpétuel changement.
Leur force expressive est tellement humaine et authentique que l’on n’as pas du mal à comprendre qu’ils ont été réalisés dans la troupe de la grande chorégraphe allemande, Pina Bausch... Quand des artistes de talent se rencontrent et changent leurs expériences artistiques, leur création devient encore plus fertile.
MARIA VERONICA
MARIA VERONICA
Ileana Cornea, février 2009
MARIA VERONICA
MARIA VERONICA
1. Click here to see MARIA VERONICA Dance-Theater Drawings 2001-2005 in Quick Time
MARIA VERONICA
MARIA VERONICA
MARIA VERONICA
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