|CRITIQUES AND COMMENTARIES OF THE WORK AND THE EXHIBITIONS
|Vázquez Prats work invades us with a deep sensation of well-being, a recomforting and necessary sensation that breaks, to end the tribulation daily
and the fight or the torture sets that grip up and it destroys. The painter reconstructs the world to the feminine way to give us a creature caressed
in every touch of spatula to reach this way the contour that we would like to have before our eyes. An optimistic, simple, pleasing world, ennobled by
these colors that exercise her wealth-producing function of the landscapes; (...) the rural houses, the rural peoples, who are the motive inspirator.
The rural environments are caught by a chromatic perpectiva in which every touch of color, always I clean, product of an estimable technology,
harmonizes faithfully the set. It is a question in sum, of the traditional subject matter of a painter that always seems to be new, naive , with an
enviable zeal of overcoming and a deep sensibility that they do of every picture a dear, estimated and highly pleasing object.
|Maria del Carmen proceeds to short, almost unanimous brushstrokes, which are consisting with small fragments of color the landscape trembled with her
painting. They are very simple, brushstrokes very sincere and so foreign to the easy sensationalism, which they spread for the fund of the picture with
the same meticulousness of the procedure that when they touch the figure protagonist. It is this generosity of valuing everything with the same
appreciation, without establishing distances of estimation, being able to make the work monotonous, but she makes every fragment very suggestive of it.
With the own silence and the tenderness of the best Galician school, the painter Maria del Carmen leads us to a few moved landscapes. I confess that
I stopped to go where she wanted and she makes me happy of having entered her painting.
Art Critic of newspaper "Pueblo de Madrid"
|Art (...) Of Vázquez Prats, of concrete definitions, which wants to take us very far, where precisely anything stays at random not even the chances
that others are invented. Because, simply, it is not done accidentally, but emotionally, since accidentally the hobgoblin that lives in every artist
would manage to live in the mysterious contour and world of her lonelinesses and realities ever.
Paintings of felt realities, where from they divide her transformations at the moment of creating her work; of there the printings of her
mpresionism at the moment of shaping her topics compositional; both of figure and of varied digest of her landscapes, impregnated with sobriety
Painting that she realizes almost always to spatula, often helped with the paintbrush and with her skills; saturated of emotions intimists
ones and fluency, cleanliness and movement and rapidity, (...) Where all her work is filled at one stroke.
JOSÉ CORRAL DÍAZ