Pascual de Cabo

 «Quien no ve la belleza está condenado a destruirla… Quien no la ve, no la echa en falta y la confunde.»

Lo figurativo constituye el punto de partida de su obra. A partir de él, su obra se mueve en todos los sentidos (impresionista, expresionista, realista, surrealista) y alcanza cotas de gran belleza. Sus obras llevan el sello de una personalidad artística acusada. Tanto desde el punto de vista de la composición como desde el punto de vista del colorido. Sus paisajes están impregnados del amor contemplativo de quien se acerca a la naturaleza, ávido de color. En sus retratos, en cambio, hay tensión. De Cabo contempla al ser humano desde una soberbia lejanía no exenta de ternura.

Celoso de su pintura, preserva sus sentimientos de cualquier influencia emocional cotidiana. En sus paisajes no fluyen sus sentimientos que podían convertirle en un mal remedo del romanticismo y, con evidente generosidad, le concede al paisaje captado en sus lienzos el derecho a mostrarse tal cual es. Él afirma que se identificó plenamente con el paisaje mallorquín.

Si en su obra se decanta preferentemente por el paisaje, es porque éste le concede un mayor margen de creatividad. A la hora de pintar un paisaje, De Cabo no mira el cielo, mira la tierra. Sus pinceles se detienen, a veces, en aspectos parciales del paisaje pero que constituyen, por sí mismos, un prodigio de armonía y luz. A la legua se nota que plasma en sus lienzos lo que le sale del alma, aquello que cala hondo en su sensibilidad.

 “Whoever does not see beauty is condemned to destroy it … Whoever does not see it, does not miss it and confuses it.”

The figurative constitutes the starting point of his work. From him, his work moves in all senses (impressionist, expressionist, realist, surrealist) and reaches heights of great beauty. His works bear the stamp of an accused artistic personality. Both from the point of view of composition and from the point of view of color. His landscapes are impregnated with the contemplative love of those who approach nature, eager for color. In his portraits, on the other hand, there is tension. De Cabo contemplates the human being from a superb distance not without tenderness.

Jealous of his painting, he preserves his feelings from any everyday emotional influences. His landscapes do not flow his feelings that could turn him into a bad imitation of romanticism and, with evident generosity, he grants the landscape captured in his canvases the right to show itself as it is. He claims that he fully identified with the Mallorcan landscape.

If in his work he prefers landscape, it is because it gives him a greater margin of creativity. When it comes to painting a landscape, De Cabo doesn’t look at the sky, he looks at the earth. His brushes sometimes stop at partial aspects of the landscape but which constitute, by themselves, a prodigy of harmony and light. A league away you can see that he embodies on his canvases what comes out of his soul, what penetrates deeply into his sensitivity.