Summarized review


“... The chromatic temperings of Juan Francés painting and his light moderations are exponents of his wisdom and mastery, because, in spite of them, his vigorous expressionism does not stop being jubilant. There can not be major mastery fits neither in the chromatic conjugations, nor major wisdom on having calibrated the heights of the tonal scales, than the ones that Juan Francés creations have. This is why he is one of the best expressionist painters in the firmament of the current Spanish painting. ”

---“... Juan Francés' landscape painting as a whole is luminous, gracefully arbitrary in its rich chromatism, temperamental, and harmonious in the conjugation of the tonal scales it, is a categorical checking of the inexorability of André Lothe's judgment, when he was stating, « Painting does not try to convince anybody of the existence of a truth, but to communicate sensations ».

" The transcendence of the work of Juan Fancés lies precisely in his power of communication, since, by means of it, those who contemplate it experience as for the same poetical pleasure as the artist experienced in the creative trance.

All the rest that can be said boastfully of Juan Francés landscape painting, adjusted its luminosity, or the refined «vangoghianism» of his harmonious chromatic arbitrarinesses, is a simple addition of grace to his crucial transcendences... ”

---“... In Juan Francés landscapes, as well as in his pictures with intimist interiors, are perceived concomittances with the painting of Van Gogh, which are not mimetic but coincidental. The strange and inexplicable thing is that the blinding Levantine light could have affected the painting of Juan Francés, in identical way and with the same effects than, in its day, the painting of the shy and irate Dutch could have been influenced by the light radiant but sifted of Arles, in the French Provence... 

Antonio Cobos (Dean of the Critics' Spanish Association of Art of Madrid) [1998]

Garden trees. Oil on board. 44x36cm. 2010

“... Juan Francés work centres on the natural environment. The explosive force of his palette, where the colour is the essential element stands out. His works, bold and personal, offer free and alive landscapes, to which the artist always keeps loyalty. What matters for Francés is to indicate and to leave the fingerprint, to make the touch of his colours incisive. The bright reds, the intense blues, the violets and the yellows shape an incomparable universe... ”

---“... The Valencian painter Juan Francés neither can, nor wants, to conceal his Levantine origin. His landscapes, categorical and expressive, are illuminated by this unique and unrepeatable light that is the Mediterranean one. Francés tries to communicate, especially, sensations, and obtains it in his exhibitions. Although he possesses an unmistakable style, the influence of Van Gogh is obvious in some of his works.

Juan Francés loves his country flowers, poppies, lilies, sunflowers and almond trees, which he paints in their maximum magnificence and beauty... ” 

Newspaper EXPANSION. Madrid [12-16-94]

The 3 phases of the rose. Oil on board. 22x30cm. 2009






"The work of Juan Francés remains faithfully to his tendency and convictions as for the color as well as in its vigorous style and expressionist reminiscences. The passage of the years has not transformed his chromatic impetus, of strong tones and bold combinations. The pink, the violet ones and the yellow ones continue leading the palette of this temperamental and bold artist. His subject, with some variations, is focused on the natural elements, specially on the open landscape and the flowers as basic elements. Nevertheless it does not prevent the author from making pictorial incursions into genre of still life. His brushstroke is clear, firm, determined; it helps to deepen this energetic, even violent character, which he stamps on his works. This characteristic contrasts with the silence and calmness that entails his subject. ”

---“... The stroke of his paintbrush accompanies the rigor and the force of his palette. He is an artist with genius and great power of decision; they are not soft or delicate paintings, they are pictures that strike and that sometimes turn out to be difficult because of their colouring, but which are capable of catching the eye of the spectator... ”

Newspaper CINCO DÍAS, Madrid [12-10-94]




"... Juan Francés is a Valencian artist who crosses in his paintings the span that exists between the impresionists and the chromatic fierceness of Van Gogh without intermediate ways, although this stylistic mixture can get to coexist in the same picture.

The landscapes and the still lives are invented in every blow of spatula; the trunks of the trees re-live; the sunflowers are stars that illuminate the fields and the poppies put their drops of blood in the green of the countryside... ”

Newspaper ABC DE LAS ARTES, Madrid [December, 1994]


"... Juan Francés expressionism is quite «Levantine», with less flatteries to nature, less sensuality. Though it is as a painter of flowers that he appears in the whole purity of his« Levantine» character, when he clearly takes after Van Gogh. But, still, sufficient of the «Levantine» brilliance remains to identify these flowers as daughters of the Mediterranean shore.

Juan Francés flowers fight to escape from the slightly solemn canon that they were always given in the genre from Juan de Arellano's small basket with flowers to Odilon Redon's tidy «bouqué». And most often they get away with it. It's not known why the genre was given the order that it still has, as we can see in the loads of floral geometry that Diego Rivera has painted.

Juan Francés flowers are free flowers, free nature, flowers that encourage a vital breath that is, definitively, the one that encourages our Levantine painting.

I prefer by far this Juan Francés of the passionate and even aggressive palette to any other one, because he has exceeding painting faculties... ”

A.M. Campoy (Newspaper ABC of the Arts) [12-31-92]




 "... He is surely inspired by nature, although afterwards he loads with colour memories and leaves the chromatism to get out of control as in a fire in which the red, the yellow and the green are the crackling flames. However, the impressionistic devotion to olive trees, lilies, oleanders, almond trees, sunflowers and poppies, coexists with the pasted matter that is organized around this iridescent anthology in which the composition is adapted to the tonal symbology of the colour.

Francés can not deny his binding to the impressionists, nor the Mediterranean luminosity, and this is another key of his painting, because, as the Mediterranean sculptors were assuring, with Arístides Maillot to the head, “ they were shaping the light ”, and Juan Francés eternalizes his nearest landscapes with passionate fruition... ”

Carlos García Osuna (Newspaper YA. Madrid) [December, 1992]

Landscape. Oil on board. 30x22cm. 2009

"... Again, Juan Francés comes with his forceful painting, his landscapes of analyzed spirit, his intimate interiors, of human warmth, melancholic boats, flowers with phobia about blossoming, red-hot and hasty colours. Force and force, vigor and vigor; the blow on the canvas in which we can discover and possess the plastic mystery. What fiber moves this painting? Is it the intentional relationship with the expressive technique? His painting looks like the voussoir of the chromatic arch in pure tones. There is no literature in his work. His painting, combination of synthesis and unreal objectivism, gets rid of any kind of anecdote, of resource, undressing it in eternal biological experiences...

... The intellective and passionate «campus» in the plastic of the author places him in the eminence of the big painters, who were later revealed as geniuses... ”

---“... The work which is mainly painted when it is felt, that is to say, with the precise gestation, without the intention of offer and of demand , is slow and steady, with a savour of confection, aftertaste of the soul and long exploratory contemplation, through its cycle of creation. That is, work done with artistic maturity.

Juan Francés, painter of prestige, well-known for his quality among the very artists (who are those who sanction the works) possesses this divine gift of passion, virtues and knowledge to achieve an ideal work, in which the genius, the removal of injury from the linen, the vision, the retina spectrum, the calligraphic style and the « difficult facility » that flow to the paintbrush with a marked different personality are included. He restores this spirit-plastic motivation which arrived at its conception, only, in the pure state of grace in the art.

The relationship of the reality-spirit fields in the painting is in direct reason, qualitatively and quantitatively, with those mentioned data that inform the mind and the soul of the artist. And that reality remains transfigured into underlying worry.

Juan Francés imposes in some of his works a chromatism of opposite sign, but leaves in it the subjective drama, the vigor and the essence. His picture is the normal, complete object, that passes unnoticed because so much naturalness and substance that is poured. And it is possible to say that the formula of his technique implants behaviour of severe and deep entrails. It reveals the wealth of colour and form with the austerity and honesty of any outstanding work. "

Manuel Real Alarcón (of the European Academy of the Arts of Paris. President of Current Art)

Water glass. Oil on board. 23x17cm. 2009

"... The violent, almost feverish sense, which the painter Van Gogh felt for the colour, has in Juan Francés painting an equivalent regarding the sensation, the almost human impression of the forms which want to be given voice of existence; They are the forms of all Nature be flowers, shrubs or perspectives.

Lilies, thistles, poppies are mixed with isolated houses among solitary fields and in atmospheres of sentimental storms as states of mind that the landscape transmits to the painter. Everything is convulsed as if a whirlwind was to knock it down.

His good drawing maintains an orderly whole, which demonstrates the skill that the painter has in his bold and very personal work... ”

.F. Newspaper LA NACIÓN, Madrid. [11-27-1991]


"... His colour, his lights (that are not the hackneyed ones of good part of the Levantine painting), his matter and his excellent drawing turn him into an artist of easy access for the fans of outdoors painting ... ”"... They are landscapes of daring ranges, of terrible skies, sometimes, of an expressionism which is always subdued by the creative line, by the profile that encloses everything and, at the same time, liberates everything. An expressionism to which Carlos Sentí was alluding when he wrote that Francés “likes of deliberate exaggerations that put an accent, a note of expressionism on the whole composition ”.
">As a challenge (perhaps to himself), Juan Francés includes in this work sunflowers and lilies to prove himself (and us) that every painter is capable of being confronted to subjects «used up» by the big teachers without his own contribution being unworthy... ”

Javier Rubio, Newspaper ABC. [1-4-90]


















" Juan Francés is a temperamental artist. He catches as if he did not mean it - as the stars shine-, and transmits and thrills with his wide sensibility".

Santiago de Santiago (Sculptor) [1972]

Poppies. Oil on board. 33x22cm. 2010

"... Juan Francés is a Valencian painter who, out of the tradition so in use and of serialized landscapes, has laboured to find the sun and, from its vivifying rays, to feed the heat and the colours that are those that communicate sensations of such a wide variety.

Fields of poppies, bursting red, virginal daisies, greeneries with the force of a nourishing cycle that makes the feelings continue: "Geraniums", "Lilies", « Cherry trees in flower » or « Red lands with almond trees », are titles of a few pictures that affirm the beats of creation in his best elegance.

We can conclude that Francés has resources and maintains his hope. Fundamental resources like the drawing that he sketches and outlines, with he joins, harmonizes and makes it into a subject; the pictorial procedures that are an intelligent manipulation of the matter, the coloration and the special effects from an emotional reality that always imposes his style. Because of it there are so many degrees, so many intensities, so much force in his territorial panoramas, in the flora and in its consequent spaces... ”

Weekly of Art EL PUNTO, Madrid.

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