Montiel (1985) - "ESTAMPA DE MAR"






Holds a bachelor’s degree in art history and a master’s degree in arts and cultural management.
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Montiel (1985) original acrylic painting Estampa de Mar, 60 × 80 cm, a contemporary seascape, signed by hand, produced in 2026, in excellent condition, from Spain, sold directly by the artist.
Description from the seller
Estampa de Mar proposes an image where the fish ceases to be a literal representation and becomes surface, rhythm, and trace. The work is built from color and texture as its main languages, shifting the naturalistic gaze toward a contemporary interpretation in which the body of the fish functions as a pictorial field in constant transformation.
The colors, intense and sometimes discordant, evoke currents, reflections, and tensions inherent to the marine environment, but also emotional states and internal drives. The textures, worked as overlapping layers, suggest erosion, movement, and time, as if the image had been marked by the passage of water and the pressure of the space it inhabits.
The notion of “estampa” refers to a fixed, almost iconic image, but here that stillness is only apparent. The fish manifests as an active presence, suspended between the organic and the abstract, between the recognizable and the sensory. Estampa de Mar invites the viewer to read the painting not as a scene, but as an experience: a fragment of the sea translated into matter, color, and gesture.
Estampa de Mar proposes an image where the fish ceases to be a literal representation and becomes surface, rhythm, and trace. The work is built from color and texture as its main languages, shifting the naturalistic gaze toward a contemporary interpretation in which the body of the fish functions as a pictorial field in constant transformation.
The colors, intense and sometimes discordant, evoke currents, reflections, and tensions inherent to the marine environment, but also emotional states and internal drives. The textures, worked as overlapping layers, suggest erosion, movement, and time, as if the image had been marked by the passage of water and the pressure of the space it inhabits.
The notion of “estampa” refers to a fixed, almost iconic image, but here that stillness is only apparent. The fish manifests as an active presence, suspended between the organic and the abstract, between the recognizable and the sensory. Estampa de Mar invites the viewer to read the painting not as a scene, but as an experience: a fragment of the sea translated into matter, color, and gesture.
