www.olimpiapeco.es After finishing high school in his hometown, Madrid, Cordoba artistic studies drawing at the School of Arts and Crafts in that city, under the leadership of the great sculptor Amadeo Valencia Ruiz Olmos. Alternating with engraving classes, spinning, wood carving, modeling and enamel at the school. In 1970 he returned to Madrid where he enrolled for free in the School of Arts and Crafts at the same time making numerous trips to many different countries, interested in the artistic and cultural background of the same. Since 1984 lives in Las Palmas de Gran Canaria, where settled and definitely, he devotes himself to painting and, with the public makes the exhibitions listed below, with work divided into private collections and government agencies, in 2005, bears the curator of the exhibition Charitable Art for Life "organized in collaboration with the Chancellor of the University of Las Palmas de Gran Canaria.
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EXHIBITIONS
1994-Association of Surveyors. Las Palmas de Gran Canaria
1994-Museo Tomás Morales, 94 Regional Painting
1995-Honorable City Council Galdar
1995-Sala Néstor del Real Club Náutico de Gran Canaria,
1996-Association of Surveyors of Santa Cruz de Tenerife.
1996 - Casino de Las Palmas, Hotel Santa Catalina.1996-Botanical Garden in Las Palmas.
1996-Exhibition of Painting City Las Palmas de Gran Canaria. 19% - Painting Competition Villa de Teror.
Artists 1997-8 Casino in Las Palmas.
2007-Home Colon, Las Palmas de Gran Canaria.
1998-Gourié House, Municipal Museum Arucas.
1999-CICCA.Caja of Las Palmas de Gran Canaria. 1999-Prensa Canaria de Las Palmas de Gran Canaria,
2000 - Poster Illustration representing the Zarzuela 2000, Las Palmas de Gran Canaria.
2002 - Club Gallery Zayas. Madrid.
2003 - ICCAT. Caja de Las Palmas de Gran Canaria.
2006 - Jadite Gallery, Manhattan, New York
2007 - Twenty-First Century Gallery, Las Palmas de Gran Canaria
2007 - Cover of "Flight of Words" by writer Adela Vila Caneda.
2008 - Group exhibition - Francophone Week 2007, Casa Colon, Las Palmas de Gran Canaria.
2008 - Cover of the book "Three words" the writer Adela Vila Caneda.
2009-Panelist, Town Hall Painting Competition Aguimes, Las Palmas
2009-Panelist, Painting Competition organized by the concierge of equality. City Council
de las Palmas
2009 - International exhibition "The moment i diversity" Comunidad de Madrid, Sala de Pedro Morillo
Lozoya old town. Madrid
2009 - Exhibition "The Company and its Heritage" Works outstanding artistic heritage
Box CICCA Canaria. Las Palmas de Gran Canaria
2009 - C. International ShowArt. Art + Art. Intercultural Art Institute of Fort Lauderdate.
Miami USA
2009-Home of "Runway's words" the writer Adela Vila Caneda
2010 - Collective Hotel Nestor. English, Gran Canaria
2010 - Art Gallery Exhibition Altea, Valencia
2010 - Happy Peace Exhibition Gallery, Madrid
AWARDS RECEIVED 1996-Second Prize of Painting "Ciudad de Las Palmas" 1996-Selected in the Village Regional Biennial Teror.
CRITICAL
Olimpia Peco: Still Life,
fi gures and portraits, a subtle inner vision expressive content. The paintings of Olimpia Peco explores the expressiveness and fauve color tones, in the fi gures and pictures, characterized by its intensity and vivid detail. fi 231f20 "> ca and therefore
intensity of its tone, seeking to highlight his still plastically,
His still lifes are unusual because they are not conventional, not by subject or by developing the idea.
Indeed, it is as poetic fragments that refer to internal conceived as a collage, fragments of different lives, in which women and children, the world of
childlike innocence and youth, predominate.
Vases, icons, books, videos, decorative items, furniture, all marked by the color, the emergence of tonal contrasts that with the expressive power of
chromaticism communicates the varied idiosyncrasies what it says.
Harmony, spiritual quest, sensuality, fragile life, tenderness, love, words and concepts that describe situations through objects, which are not by
chance, nor to list indoor environments than conventional ones, but are the product of their own ups and downs of life.
This is going beyond our own limitations, to be inserted in the determination of the sensible.
Looking for sensible, because he does not like still lifes inside are simple product of combining elements results cold, distant, without intent or connection
each other.
Everything we live has an energetic determination and our objects are the result of experiential dynamics. Have their specific energy
Olympia, ere fi les with the power to enlighten. fi 231f20 "> gures, essentially feminine, played with effusive and colorful fi fi ca ere with them the beauty that is always there, even despite the passing years. 231f20 "> fl owers, motifs and elements of great virtuosity, sensuality and attractive color fire that spread through the square meters of lush, eastern developments, ideas fi gures, including, but predominates in them fi gure Women also
Interior, room color, full of fl owers and ornaments, children and couples sitting, fi 231f20 "> gures of sensitive men. Fi gures, portraits and interiors, laughing fi expressiveness, combining tantalizing his compositional situations
fi Times New Roman; color: 231f20 "> nen situations that define and express their willingness to develop portraits of women contextualización.Son colored fans and young people in environments
His pictorial series devoted to
shawls stand the woman, displayed with the specific dynamics
A beauty understood in classic, but illustrated with aromas and current chromaticism, filling vivid characters who have subtle elegance, established from the very
finding evidence of the natural internal balance that we offer. Shawls covering the slender,
slender and graceful of these ladies, who are conceived as symbols of the joy of their own existence.
There are also
which are themselves the epitome of the power of sensitive content in their own style.
His portraits follow the pattern of
There are portraits of children and some men noted for their sensuality. Pictures is contextualized in specific environments, surrounded by elements that
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Naturally works on classical subjects like still life painting,
attach great importance to the intensity of color tones but also to the drawing, since, without abusing the detail, pre
easily by simply convoluted and somewhat baroque with its claims to get show the power of beauty in its purest stage.
Joan Lluis MONTANE
International Association of Art Critics
fi
Gurat, tables are usually large format, Olympia develops the same
with a mastery that has nothing to envy the teachers, their pictures on this side of him, often
be dressed with a classic shawl, probably in
fl uence of the period of study at academies Cordoba, these compositions are really important because it makes a symbiosis
of all his artistic side, portraits and still lifes
fi configurations, all these works, with a technical
higher insurance line drawing but same time agile and beautiful execution.
Special mention deserves the extraordinary colors, vivid shades, personal his spots and
all your glazing technique, which makes the work of Olimpia Peco is recognized, without requiring
use read
fi rma, as his work is personal and is unequivocal ... Olympia Peco.
LUIS A Montull
(Internationally recognized sculptor
www.luismontull.com
The first assessment which facilitates the contemplation of the painting of Olimpia Peco, is that
is among the new artists
New Roman; color: 231f20 "> fi
Gurat, but his pictures have a conception and practice of art,
decidedly contrary to those of
fi aesthetic configurations established on the various aspects of
languages Current realistic.
Olimpia Peco's painting is not the
fi delity and formal virtuosity of the images, but the connotations
symbolic and emotions that contains or contains his work.
His painting is very unique, very personal, in which the "Fauvism" and "expressionism" acquire a
rhythm, vibration, lyrical magic.
Olimpia Peco's painting is seen and felt in all its dimensions, in its depth, even in its most
clear and
per fi fi nitive 231f20 "> them. The richness of color splashed its ease of drawing, speech and agilísima
ornamental joy, the place in the world of Francisco Iturrino and Matisse, and many more names
to swell the list of teachers.
Still lifes
fi gures and portraits, are collection of his paintings, passionate and wise. Olimpia Peco
academically not interpret still life, try to be a "picture-still life, painting in the wild,
a composition in which the objects interpreted, are a pretext decorative. Within the still lifes
where there is a series of different objects, the protagonist is a classic shawl.
This, usually in large formats.
The
fi gure, the plasma always adorned with her shawl of bright colors, for example:
magnitude
fi co picture of the great "Fauve" Francisco Iturrino, "Fiesta in the field, Oil, 1898 - Stock Bank
Bilbao. Iturrino work so important, such as "Las Meninas" in Velásquez.
As for the difficult art of portraiture, Olympia, has the perfect tool, which is drawing to express
everything. To portray it. His portraits have a depth of psychological portrait, but loaded
sensitivity and resolved with a simple and strictly pictorial language.
Olimpia Peco Mayor, in his work conveys a special force has undoubtedly Canary potence.
Antonio Lopez de Alarcón
Artist Bachelor of Fine Arts from the Universidad Complutense Madrid.
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Art is the sincerity, the natural, one is, the personality, and will not condition the artist
for the good observer or critic, which denote their training. We have therefore seen the
Olimpia Peco work like this should be noted immediately: the fact that the painter has followed
training for academic use, as is habit in the School of Applied Arts and O
fi services
Art, so we call them with all the sintomátca curriculum now says, in which the
study
fi Figure of lights and shadows, its effects, proportions and measurements, the
backgrounds and perspectives, the study of colors, complementary mixtures and in short,
the kitchen, are repeated again and again, patient, convicted, in a sense, the record is conducive
from wisdom and knowledge leads to the creation. Olimpia Peco has formed as well, such is the painter,
we ingratiate ourselves with the process and outcome.
The art of painting has been provided, revolutions, especially denoted in their time,
others discovered in the passing of it, but not all artists seek to revolutionize the art
and for others the greatest revolution, artistic, paint the truth is, debugging technique in the family, and
the observer and critic loves it.
We are thus in undeniable value of communication. These are with this speech, our findings
before the work running Olimpia Peco.
The framework that encapsulates the artist's work and what informs the "meditation framework" proposed
Ortega teacher. The lesson learned what defines a family vocation and intimate, the
dedication to the interior iconography, with some baroque rhetoric or to the environment and background
of
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gure where it is and its objects which fi nition are treated with extreme justification
in the drawing, trampling, for the portrait, with the insight of the sort. The valuation effect
objects, subjects in the field, provide a mosaic character and expressiveness to the table driven
from the thick lines are accentuated by the use decorativizan thunderous color. Olimpia Peco
has a apparent sensitivity at work, in the constant and the wisdom of the transparencies.
ANTONIO CILLERO
(International Association of Art Critics, AICA)
The Creator who need to tell the other their feelings excited as an actor and spectator of this society,
because if it does, no other concern, be clear, that we get whatever you want to tell us
because he or
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fi price impacts we learned his work and wish to have with us such a clear voice of
creation. The most extraordinary thing about this painter is that his creations are authentic creation, since
that does not use models and theory that I hold is because he does not create copies, it remains true
which is pure illusion. Also surprising is the carefree and easy technique. Joyful painter
in color with a very personal interpretations that can build, with a Néstor de la Torre
Anglada Camarasa.
Juan Avalos
(Sculptor, Academician of the Royal Academy of San Fernando, Academic of Arts and Letters
of Extremadura, Honorary Academician of Fine Arts in Moscow and other distinctions.)
The great French writer Victor Hugo wrote in a day success, "a poet is a world closed
a man "can also write that there are poets who write poems but not to the feathers
with brushes, poems l painted on canvas for a few painters who give us all a wealth of
deep feelings, and this is the case of Olimpia Peco, it gives us a whole inner world
accompanies the vital moments in the everyday ups and downs that they uplift the ideals and transfer
any barrier that immerses the person in the bland and dull existence.
Sensitive paint, clear, balanced and peaceful painting intimate and at the same time open and communicative
the calm and temperance that breaks monotony, anxiety, scorn ye misunderstanding. Painting
Olympia is positive, unrelated to the bitter and sad life. The paintings of artist lead us
a real world, illuminated by the light of the joy of positive living. Olimpia's painting is Peco
becomes e
fi caz balm to evoke happy moments.
With full mastery of drawing purifies clean colors to spice a few moments, giving
the appropriate magnitude to the everyday, Olimpia Painting has a special charm which no missing
231f20 "> language of
fl pray nor the charm of the TVs painted as an evocation of Degas in his dreams
Fauves.
MANUEL PÉREZ RODRÍGUEZ
(Dean of the Faculty of Law, Las Palmas de Gran Canarias. Art Critic)
231f20 "> Olimpia Peco, was formed as a painter in his native Madrid and Cordoba. As I understand it, the unmistakable
maturity of his work, as varied in their views and approaches as a unitary conception of
approaches, by the thousand variants that support the glazing, which, due to moisture
oily matter, can be achieved spontaneously improvised. The tables are well lit,
on most, transcends, therefore, the beauty of the natural mindfulness. These compositions
ever built in advance, but emerged to the sound of improvised strokes. Beauty
of spontaneity, I insist that for me is the bedrock of the painting of Olympia.
Spontaneity of deriving the capacity of conciseness of his pictorial language, that in other terms,
the power to make the always difficult synthesis of line, color and light. Clean lines (domain
the drawing), pure and bright colors that do not exclude the presence, in certain cases
subdued light with soft transparencies. And if the color is, I have no choice but to attribute to
Olimpia a very close relationship to the painters attached to the motion "Fauve" because like
they, especially Matisse, with
fi n to produce a purely visual satisfaction
through the perception of the painting, makes color its almost unique character. They, the Fauves
fabric removed any element that was not pure color, to understand that the vividness
depended upon the colorful which was the goal of his artistic mission: the expression of an authentic
"Joie de vivre." And I think to achieve this goal also aims Olympia when he paints, and
poetics as those built based on Van Gogh and Gaugin and knowledge of
Oriental art, Persian ceramics, fabrics and woods Moorish intended Olympia to Japan
under their bright palette, contrasting and, at the same time harmonious.
And of those painters also inherit the repetition seems Olimpia interior with
fl and pray still life, striking carpets, shawls and in
fi community elements that make up the
home privacy surrounding their models, intimacy is accentuated in the series of female nudes.
And because
fi human figure, always viewed from this perspective, is strongly
this in his speech argument, Olimpia's painting could be considered in a more
essential, as the creation of human landscape as it also all genres of painting
feed on this motivation. So often turn to large box, you need
Times New Roman; color: 231f20 "> to shape the human landscape to which I am re
fi laughing, the only valid argument that
Olympia is served when the man looks around him. It is the human landscape, I repeat, that
inspires and motivates you.
JOSÉ PÉREZ ACUTE
(From Association of Art Critics)
Olimpia's painting is intimate, delicate and tender. The themes of his paintings on canvas are the people and
the objects of their family, always children or adolescents, or restaurants where they reach the
fl Roman; color: 231f20 "> pray a
central place, especially evergreens, vases, old pictures of grandparents, shawls
Manila and fans. I have often compared the work of the painter by his intimacy with the Nabis,
however, the touch of his brush
fl pray is rather impressionistic. Roman; color: 231f20 ">
The painter mixed with shawls wisely
fi Figure female teenager, sometimes naked and other
dressed with a perfect set of glazes. Cultivator indoor intimate themes such as "The girl
fans "plays with the transparency of the fans overlap.
231f20 "> The still life shows us a world
fl dried pray that highlight the beautiful colors, made in
thick strokes of oil paint, books, gift baskets, dolls, shawls, so dear
Olympia, appearing displayed on writing desks or tables. Another resource used by the painter, who is
the fabrics are very old portraits, the famous daguerreotypes, on tables or decorating the wall,
that
fi eren the work a melancholic poetry full of dreams.
Paloma Herrera
(Academic for Fine Arts of San Fernando)
color: 231f20 "> Olimpia Peco's paintings are inherited from the explosion of color that occurs with European art
with impressionism, symbolism and
fl auvismo, and at different times across the plactic
twentieth-century painting.
It is a painting on the one hand, very description that draws attention to objects of household furniture,
among those who received the greatest attention the exotic thug Manila, literary and otherwise when
represents the
fi human figure, children, adolescents, in an atmosphere of mystery and poetry. In the latter
appearance resembles the environment Pre-Raphaelite and Symbolist pictorial and somehow approaches
certain works of Nestor, who also painted those "Manolas" covered with bright shawls.
This language appears highlighted in his book "The Sea" which is the part of larger symbolic
exposure and engaged by a climate "
fi color: 231f20 "> n of the century" defendant resonance.
But along with this content that we also speak of an intimate, serene living space
everyday life, his work is carried out by the composition and color, colors that are imposed on
the story itself of each piece, offering a world of fantasy and intense artistic proposals.
ALFREDO HERRERA PIQUÉ
Writer, Art Critic.
Olimpia Peco Mayor is an excellent painter that I have the pleasure of discovering these days ... say in
These days they need to go step by step, its essential features and how to present and feel, that feeling
each time, says of herself: "My criticism on my painting conceptually
fi Gurat
I am looking for an experience to issues that take me to achieve the desired effect, leading to instantaneous
symbolic or life itself, combining the colors I'm summoning to create the picture
I want to say "
So that the work meets widely seen here with the announced participants in really making
those moments yet allows us to roam about the environment and the soul evoked: Infanta Margarita
Remember, the shawls, rest, I'm ... Almonedas, Colors ... where a fluent stroke
excellent color and texture, only with the
Roman; color: 231f20 "> fi definitions using the necessary details to avoid
Reading misleading or detract from the instant sensations, thus combining Olimpia
work perfectly with the title deeds as giving
fi color: 231f20 "> dedignas that call us to contemplate and
again, or be part of that experience.
So we see in the play "I'm ..." he speaks of a very precise moment with few elements, a
crucial moment for anyone ...
"Me voy" speaks of a moment of light, clarity ... to awaken, his hair even without ordering, covering
the body with one of those shawls Córdoba both appreciated and used. She star
and slips from the sheets into a seamless cloak and simply expressed and
no doubt ...! I am ...!
Is one, I am leaving in rather loud soliloquy, is aimed at someone, a someone who stopped being something
important to her ... did not need the shadows to say goodbye and less to run, all this is
made with few elements and large spaces modulated just enough to say what is necessary to
clearly and forcefully, for the avoidance of doubt.
Olimpia weaves each work without fatigue but with incredible accuracy to re
fl ect moments and emotions.
Nothing is left to chance. It remains that we meet with their pictures to read and enjoy
widely.
Congratulations Mayor Olimpia Peco
Guzzo ANTONIO
(Art Critic)
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