"Welcome to the audition in the pictorical art"

"Shape, color and music harmoniously combined"

Musicism: Audition in Pictorial Art


The creative faculty of man is inspired in the greatness of God.

The magnificence of Hearing in Pictorial Art, Musicism, is a world of reasoning based on natural laws.

Musicism is the science and art of interpreting what is heard and seen on canvas in a harmonious and orderly manner, reflecting the unity of the universe, rendering a reciprocate connection which maintains the equilibrium.

In the physical world, we have shapes, colors, coordinate sounds, etc…. these elements are graphically interpreted in separate; the visual part on one side, and the heard part on the other. With Musicism, the vibratory feelings, the shape and color, can be jointly expressed harmoniously just as they are conceived by nature.

Nature communicates to us its universal language through emotional vibrations: the sounds – these in turn are graphically interpreted through a universal language consisting of a system of symbols known as music.

The art of combining the sounds = Music.

There isn’t any emotion more wonderful than seeing and hearing the great composer that is, nature itself, which constantly improvises with its majestic singers, choirs and orchestras; such as the lovely melodies of the birds of paradise, the impulsive jingle of the leaves on the trees, the noise of the wind in its celestial race, the resounding waves of the wide seas, the roaring of the storm during cold winter and so on, indefinitely, all these innates and experts in music, the visual beauty and the equilibrium, persistently invite us to the dictates of the audio-visual world.

The approach of what is hereto known in painting, makes me feel excited. However drawing a delicate nightingale of stylish figure and beautiful sparkled colors, doesn’t obey the natural law by stealing one of its most precious rights - its melodic singing - since it is isolated on a paper separating it from all its logic functions, leaving therefore the execution of the painting as something cold and unfinished.

Looking at this disconcerting scheme, I started to reproduce again the nightingale without its so valuable elements; the beautiful sparking colors, removing its stylish figure, showing an alteration in both examples of the order of authenticity, leaving at the end, a soul and a heart cut in pieces.

Faced with this dilemma, it is necessary to work with intelligence on the wisdom of nature. All the essential things are found in her. Only one thing is needed, to respond in a natural manner to the privileged nature.

Therefore, If I wanted to understand the symmetry of what is, which will always be perfect, I needed to calibrate the nightingale in its original state, since its value is not based on individual elements, but in a total set formed by its structure, physical as well as spiritual, from where it derives its reason to be, thus achieving a direct experience and not as something deformed from reality.

In order to reflect with its voice the figure of the nightingale that bathes and shadows its properties with the intense light of the sun, it is necessary to have more than just artistic knowledge – the Musicism.

It was imperative to resolve and manage the different textures of both materials, music and painting, whose scientific and philosophic values haven’t been jointly explored, so therefore, it should be analyzed and studies have to be gathered over and over again on the exemplified design that offers serious arguments of reflection, drilled into its essence, extraordinary dimensions of various shapes, discovering through the laws of nature, the coexistence of the graphic universal audio-visual language which until now, had been dispersed, giving messages in fragments.

Basing on the knowledge of rules that govern the senses and the properties of the object: shape-color-sound, which in turn are in direct reason with the different aspects of the universe, among which are the light and the perspective, I was able to discover behind this cosmography, the inherent presence of hearing in pictorial art, which constitutes a graphic trinity of the universal language: shape, color and sound.

The graphic unity of the universal language: shape, color and sound, exist and has a body. This scientific reality can materialize embodied in its territory, meaning, on a solid support like for example: a canvas.

Painting, its science and its art.

Science is the knowledge of what is true, exact, and the reasoning of things for its principles and causes. This categorical argument denotes that pictorial art has a lack of knowledge since it doesn’t contain within its static territory, part of its same process, meaning, one of its fundamental graphic elements, the sound.

And if realism is all of those that get closer to reality, in which case therefore, all of those paintings where silence isn’t justified, doesn’t comply with the concept of realism, and should therefore be logically called partially realistic painting, since it has embodied only a part of what is existent.

The same thing happens with the styles, fashions, tendencies, theories, and so, in pictorial art in general, since to all works where the absence of sound doesn’t have a reasonable explanation, it shows that these works don’t reach the knowledge of graphic wisdom, since they lack that, which before was disregarded as material that exists: the pictorial sound.

The Phenomenon Graphic Artistry: Its principles and causes.

The shape, color and sound aren’t styles, fashions, tendencies, etc… they are inherent attributes of a natural object, and therefore they are science, and it’s the same science that gives place to create all movements of pictorial arts making it possible so that the ideas of the artist are realized. On the contrary, the absence of these principles and causes, it would be impossible to construct the world of graphic ingenuity taking into consideration that the absence or separation of one of these inherent basis is detrimental to the scientific and formal value of the content of the work.

The creation of a work belongs to the artist and the sense of independence allows him to reach levels of freedom and adventurous character although always governed by science.

Throughout the history a painter has reflected in his canvas the graphic side of what is currently known as pictorial art, the shape and the color, and has interpreted with these two fundamental basis in his work, realism with mythology and other fantasies, enabling him that these two basic components adapt diverse styles and fashions, and even destroy and distort its harmony, but never the science, i.e., the shape and color have been excluded from its territory.

Audio-visual graphics are made up physically in its field a natural undivided process, where sound receives the same impartial orders as the shape and color, allowing the artist to interpret with the sounds in his work, realism with mythology and other fantasies, reaching that this fundamental basis adapt various styles and fashions, and even break and distort its harmony, but the science, i.e. the sound should not be excluded from its territory nor from its original link where it belongs, the shape and the color.

A pictorial work reasoned and balanced wisely starts its scientific development, i.e., with the graphic unit of the universal language, shape, color, sound and from the entrails of this scientific trinity, go towards all those that want to be interpreted, whether realism or modern tendency, and if in the interpretative journey we meet with silence, like in reality, we adjust to silence.

In a painting, there is color and shape between pauses and silences.

The towns are not only distinguished by its shapes and colors, they also have a voice. With the discovery of the Audition in pictorial arts, we can convey to the world through the graphic unit, the landscapes and monuments of the town together with its cultural hearing universal language, framing united just in reality, the brilliant audio-visual values of the glories of the nation, revealing more fully their culture and personality, making possible one´s understanding at the global level, providing scientists with recent channels, and leaving expressive testimony to history.

Musicism does not only treat of capturing the nature as perceived by the eyes but also to resort to other sensory organs to play with the brushes, as the world sees and hears, and thus give itself, a reproduction that is real as well as extensive.

It is fascinating to be able to return to the former pictorial empire but with the acquisition of other sensory understandin, the audition, enabling the mind to refer to the sum total of the senses.

In a graphic visual work, the mind produces the static forms to imagine them in motion since these forms cannot be known in mobility. In an audio-visual graphic work, the mind develops a musical notation not just to imagine the music but that this can be known and can be intoned. This shows that the shape, the color and the sound are bound, they complement and balance each other to enable and expand the message to the undivided sensory organs.

Since I discovered hearing in the painting in 1986 and in accordance with the precepts of nature, reason is that while there is the universal language of audio-visual graphics, shape-color-sound, this is undivided as its components must operate with each other to obtain a more extensive and harmonious construction of the aspects of the world. Excluding one of these components from its structure leaves this, deprived of unity, decreasing in value and interrupts the course of the universal law, causing the primary effect of suspending some of the senses.

For this reason, I had to proceed according to the rules and demanded to incorporate into my paintings in chromatic chord, the musical timbre, being the universal language of a graphic unit, shape-color-sound, the bearer of the development as a right claimed by the senses, a product of a society in evolutionary process.

Because of the anteriorly mentioned, it is necessary to enumerate that there exist: the universal unity, the unity of the sensory organs, the relentless pursuit of scholars to achieve the unity and that there exists, although divided throughout the centuries, a graphic unit of the universal language, shape-color-sound, which is in principle, scientific knowledge.

The reason is just in the rules, since it has never separated from the majestic creation, not as a whole unit, nor individual unit, from its infinite collection.

Certainly I understood that there exists no element without its reasonable correspondence and there is no reasonable correspondence where there is no unity.

Due to the breadth of its context, musicism has multiple manifestations and derivatives among which are: unisochromatic, 3 dimentional, solmiplastic, solminatural, etc.

Subjects related to the texts explained in major details.

The visual and auditory part of nature, are artistically expressed by the painters and the musicians through a graphic system that allows prolongation in time.

Since ancient times, we could have the history of the charm of the visible world thanks to the graphic materials that our ancestors had bequeathed us. However, we cannot trace a graphic history of consonantal beauty so far back in time, since the musical notation appeared thousand of years later when Guido D’Arezzo introduced the use of notes around 990-1050.

As shown in history, these two artistic ingenuity, Painting and Music, have remained independent for centuries within the graphic world. Both of these graphic materials of universal language had not been investigated jointly. Therefore when both music and painting coincide in a frame (work), they just give us the interpretation regarding information on the shape and the color since, on what graphic sound represents on canvas and its scientific value, there are no records that tell us of its knowledge and rules because the author of the work as well as the viewer didn’t leave us with any scientific explanation from this artistic coincidence of music and painting.

Musicism is the complete fusion of two artistic materials, plastic and tonic, proportionately mixed forming sceneries, etc… with musical compositions, interpreting the scene on the frame with the melody, giving place to the pictorial-musical language.

In a pictorial musical exposition, the viewer can mentally perceive the melody contained in each painting without the necessity of hearing it through musical instruments.

The spoken language can be moved on to paper through a system of symbols known as: writing.

Music also has its system of symbols to move sounds onto paper: the musical notes.

Through writings, we can know either orally of mentally, the history contained in a book.

The same thing happens with the musical notes. Through them, we can know whether orally or mentally, the melody contained in a sheet.

The pictorial-musical dwarf has awaken.