Critic


MARIO ANTOLIN PAZ. President of Spanish Art Critics´ Association.- 1990
Angel de la Peña constructs aech painting balancing with exquisite sensibility the concept and the emotion, the skill and the pictorial sensuality; in such a way that each of his works transcends beyond its own material body, unleasshing its spirit and mystery.

ANTONIO COBOS. Dean of the Art Critics.- 1990
Among much mimetic tendencies, lacking in originality, and what is even worse, lacking in sincerity, as of those today proliferiting in the wide and heterogeneous panorama of the Abstract Expressionism or the Art Informel and the abstraction, Ángel de la Peña is a fortunate excepcion, not only for his rigour and his technical grasp which are above to any excruciating improvisation, but also for the intrinsic beauty of his work in which, without any concession or trick, he captures his personal creative vision.
 
TOMAS PAREDES. Art Critic.- 1994
Angel de la Peña painting obeys to a constructed process, contrasted, seeker of precision , with contemptuous mixted skills and presumptuous delinquency, this is his work, sober and elegant, seductive and integrated, which places its creator among the first names in the rank of the last generation of informalist painters.
 
JOSE MARIN MEDINA. Art Critic.- 1994
Angel de la Peña painting preserves the structural and the material elements of the abstraction. The beuty of his artworks lies in the suggestive shade of meaning of the colour, there are some artists prenominantly linear and others fundamentally colourists. Ángel de la Peña is definitely a colourist artist. We are in front of a painter who is in his right place. An oponed path, directed to the colour.

JUAN ANTONIO TINTE. Art Critic.- 2000

The pictorial purity embedded in its polished meaning. The equilibrium in the forms, the composition devised at the expense of the minimal and essential modulations are not in any case random. So many are the resignations we fin, many iconographic varieties with a tighfen effect those that Ángel de la Peña must have disdained to be liberated fron the temptations with which the own painting subdues the artist.

SELA DEL POZO COLL. Art Critic.- 2005
The language of painting offers to the artists,in a general way, possibilities only comparable to their creative capacity of the plastic values. Those values must be specified as their own values and provide them with a necessary entity to shape their own expresive offer, witch will be solid only if their works are also serious in their approaches. It is Angel de la Peña case. His aesthetic is not an aesthetic of the programmatic, neither is free of cadences: Each of his paintings reveals the renew a plastic art which opens the door for the abstraction from the genesis itself of his conception. Angel de la Peña painting justifies itself from its own existence, as a result of a serius work brought together with the freedom of its personality.

CARLOS DELGADO. Art Critic.- 2006

He has consolidated a vocabulary with immense lucidity and has settled himself in the retorical purification and in the expressive concretion. Paradoxically, this lucidity is obtained throught the use of discordant elements which support at all time his full autonomy. In fact, we might say that the visual intensity that his paintings possess is originated in the research of the disagreement of trhe formal resources, and, of course, of a pondered complex elaboration that places each element in the most fitting sphere.

MARIA LUISA ALONSO. Art Critic.- 2006

The rigour he uses to compose his paintings allows few superfluous elements and shape in a certain final austerity, but without resigning an insistent and detailed production.
It is noteworthy that the most profound significations hide frequently beneath the simplest things. I assume that there is a clera positioning in these artworks, without transferring to a tactical interest and from the most unbreakable honesty, in favour of the pure pictorial process of the abstraction.

AMALIA GARCIA RUBI. Art Critic.- 2007
Bearer of an abstract discourse with gentle informal references, over which there hover diverse flat and irregular forms, similar to a universe reduced to its minimum expression at once surreal, yet lyrical. The stains of dark colours firmly cut over a material surface of indeterminate clarity, express a strong contrast between emptiness and fullness, converting these luminous, yet sober works into a beatifull ensemble of supports , resulting paintings witj a magnificent internal coherence.