There is called he an Art to the creations by means of which the human being expresses a sensitive vision concerning the world that surrounds it be this really or imaginary. The art usually express you design or emotions across plastic, linguistic or sonorous resources.
The art expresses perceptions and sensations that have the human beings who are not explicable differently. It is considered that with the appearance of the Homo sapiens, the art had in a beginning a ritual, magic – religious function, but this function changed across the time.
The notion of art performs today subject to deep polemics. This due to the fact that the meaning of the word “art” changes according to the culture, the epoch, the movement, or the group of persons for which the term is a producer of sense.
The artistic manifestations sink in the ocean of the memory, as representations of a past, in which the human being was trying to form their congéneres; what they were feeling, was suffering and sometimes they were afraid.
From the first artistic manifestations the art and the painting have suffered numerous modifications, from the first and eloquent cave phrases up to a major refinement of the technology and the attempt for forming the great reality of our environment.
With the arrival of the XIX century, some painters sensitive to what was happening began to experience the changes that later and with the entry of the century xx other artists would develop; the art began to say about what so much time had been keeping silent, managing to make a fuss to understood and connoisseurs of the way. They started to representing not only to the working and hard-working class (Gustave Courbet ” The stonecutters ” (destroyed in 1945)), but also to persons of bad(wrong) life, since it is the case of ” The Olimpia ” (“L’Olympia” that Édouard Manet of 1863). At the end of the s xix the crisis began to become clear in a context in which the prevanguardia already had begun to mark limits with There go Gogh, Ensor, Munch, etc.
With the arrival of the 20th century; the art turned into an experience of guerrilla warfares in pro and defense of an art that was meeting atrociously hurt by external, like that circumstances numerous movements happened with the zeal to reject former academies that had been slaves so much of the bows of the middle class as of religious chains. Sprouting movements like the Fauvism, Expressionism, Cubism, Dada, Surrealism, Constructivism, there arose the protest but Bohemian art, the Modernism arose.
During the second half of the century xx and after the second world war, the western art emigrated to the USA (New York). With the gravit center of the industrial production and the political power. What produced a radical transformation in the North American painting that in this moment was influenced by the social realism of the former Soviet Union; giving I go on to a new conception of the art. The Abstract Art; that in spite of being supported by the most prestigious and charismatic critics of the moment I do not last a lot of time, giving I go on to a riddled postmodern era of devenires that were not doing any more that to reaffirm what Greenberg had defined in his essay ” Avant-Garde and Kitsch ” 1939.
According to Greenberg the really crucial moment of the Abstract Art was in 1947-48 with the creation of the so called school of New York; on that enough painters seemed to converge with the sufficient aggressive force as(like) to call the attention of the American press, constructing an identifiable identity. After the fall of the School of New York, sucedierón numerous ideologies Methodists who of one or another way were making advance the art it(he,she) was doing the exaltation of the consumption Pop-art, towards the comprehension of the minimal thing as cosmo-vision Art Minibadly, with the integration of elements of waste Povera and natives Land Art, introducing industrial elements Conceptual; without forgetting the neofiguración of the Transvanguardia Italiana and to the new German Expressionists who at least were renewing the former ideology of the Storm und Drang forged in cánones of the Romanticism. The whole game of integrations very consistent with the industrial production and very little with the own integrity of the pictorial elements (With the exception of these two last ones).
I am sorry to have done such an agglomerated entry, but undoubtedly consistent with what I want to invoke. What I want to say is that the fact of having born in this century does not link me for anything to their conceptions of the art, splendid monumental conceptions they infect our cities, I suppose that to be able to compete with the new architectural constructions, and it with regard to the sculpture but that is of the metarrelato in the art, I suppose that Dalí and alone Buñuel were trying to give a step beyond but a step that damaged to the painting in her more valued intimacy, since in her time it did the photography, the cinema damaged us even more annulling the paradigm of the image to simple stills. All this infinity of new artistic methods they are annulling completely the pictorial capacities flooding the individual of new technologies and resources, to verify it only you have to go to any gallery of contemporary art and you will realize what I say.
Where the painting is in the current context, you do not realize that they separate us, they treat us as defending lepers of semilost reasons, as if we concerned to an Archaic Clan and on the verge of disappearing. Being we that of one or another way we have made advance everything, facilitating a way of living to the society. You do not realize that the cinema exterminates any attempt of pictorial-metaphysical flight. It  uses us and then it rejects us doing that us feel culprits of our own existence. Since already he is nice a man, my painting is not any Disney’s sequence. The Clan of the new painting defender extreme of the inscrutability scientist – technician inherited from our teachers to that we owe everything to them, in life or in death everything. The Clan of the new painting exempts false jongleurs, but it does not allow them the entry. Our step-brother, son I lavish of the consumption, son of the sequential celluloid has the entry prohibited; here it is come to paint, to being sorry and living through the Painting.
” Without forgetting that the history turns to the art in the representation of a past in which the human being was living conscious of his/her life, sensitive of his/her existence. “
 

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