Yuni R. P. (XX) - Atardecer en Venecia

YUNI R. P.'s painting is built from a direct, physical relationship with matter. Working mainly with oil on canvas and discarding the brush in favor of the spatula, the artist develops a pictorial surface where color is not limited to describing the image: it acquires volume, direction, and movement.

The spatula allows him to deposit, drag, and layer the oil through broad, decisive gestures. From this procedure arise surfaces of considerable material-cromatic richness, where colors meet partially on the canvas without completely losing their individuality. This characteristic is one of the most recognizable elements of his language: intense blues, turquoises, solar yellows, oranges, reds, and whites appear juxtaposed and intermingled in a very bright palette.

Although his production includes landscapes, gardens, figures, and urban scenes, in recent years the sea has become one of the great axes of his painting. Sails, ports, shores, reflections, and horizons repeatedly appear, transformed by a gaze that privileges sensory experience over meticulous description. His residence in Havana and daily proximity to the coastal landscape thus find a natural reflection in his imagination.

Formally, his work dialogues with certain principles of Impressionism and Post-Impressionism: capturing changing light, chromatic fragmentation, and the aim of conveying an impression rather than a photographic reproduction of the motif. In some of his seascapes one can even perceive an affinity with the luminous tradition of Joaquín Sorolla, particularly in the interest in the radiance of the water and in the way whites, blues, and yellows turn the marine surface into a space of light. It is not an imitation, but an affinity within a long tradition of artists fascinated by the relationship between sea, color, and luminosity.

However, YUNI R. P. takes that tradition toward a painting that is more materially emphatic. The imprint of the spatula remains visible and turns each plane of color into a small structure. Up close, the painting may verge on abstraction; from a distance, those blotches and directions reorganize as sails, reflections, vegetation, figures, or horizons. That tension between abstraction and representation is one of the most captivating aspects of his work.

Photographs can barely convey this character completely. In front of the canvas, the relief of the oil and the changes produced by light incidence give the works a presence and a depth that exceed the two-dimensional image. The result is an immediate, vital, and recognizable painting, characterized by strong chromatic energy and a deeply optimistic view of the landscape.

The public trajectory of Yuniesky Rodríguez Peña includes solo and group exhibitions in Cuba and the presence of his work in international private collections. His work has also been internationally disseminated through platforms and organizations dedicated to contemporary art. His works are collected in several places in Europe, both privately and institutionally.

Artwork by artist Yuni made in the high-quality professional oil-on-canvas technique.
Dimension of 73 x 53 cm of painting.
Original edition.
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This oil on canvas painting is an expressive Venetian urban landscape in a Neo-Impressionist style that stands out for its dynamic use of the spatula and a dense pictorial impasto. The composition adopts a marked central perspective led by a gondola in the foreground, whose lines guide the eye toward the silhouette of the basilica and the Campanile of San Giorgio Maggiore at sunset. The artist deploys a vibrant palette of thermal contrasts where warm tones of the sky—reds, yellows, and intense oranges—dialogue with blues, turquoises, and golden reflections on the water’s surface. The energetic brushwork captures the reverberation of sunlight on the canal and the movement of the crepuscular atmosphere, achieving a work imbued with lyricism, chromatic strength, and a profound architectural romanticism.