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In this article, Roberto Guevara critiques the landscape work of Adrián Pujol, establishing conceptual links between his first works and the new representational proposal of the neo-landscape artist. Guevara highlights Pujol’s use of apparent and occult elements—reconciled artistically through his walls and canopies—but also reflected (in a more complex manner) in his innovative approach to the tangible, which the painter now explores through the graphic arts. With his representations of drink cartons, automobiles, and oil barrels arranged in formatted panels, according to the author, Pujol lays the foundation for a language that is open to new visual connections with the mundane.


This article focuses on the role played by Adrián Pujol, the Venezuelan painter of Catalan origin, within the new landscape style in Venezuela. According to critic Roberto Guevara (1932–1998), the artist was one of the first in the country to recognize the potential of this genre through the lens of a contemporary perspective. According to Guevara, Pujol’s visionary approach to landscape grew in intensity beginning with the Gráfica XII exhibition (Caracas: Sala Mendoza, 1980), wherein, in addition to delving into technique beyond painting, he also achieved greater intimacy in his art; Pujol’s disposition to working in more than one field spurred him to discover the mystery in daily life from its most instinctive and spontaneous side. 


[For other critical essays by Guevara on Pujol’s work, see the ICAA digital archive “La frontera transparente” [The Transparent Border] (doc. no. 1157078)].

Maria Virginia Pineda Aranda
Fundación Mercantil, Caracas, Venezuela
Roberto Guevara, 1981