The warmth of the colors, the peacefulness and sinuous female bodies wrapped in the soft light that narrows, sometimes create pictures of Miranda Bellarmine evocative atmosphere and sensuality. Evocation or extension in time, a painting dating back to Titian and Giorgione at a time when the nude, after a long attachment to the mythology and history, finally assumed value of autonomous subject, an achievement that would make eventually in a genre capable of signing with great force art history even today. Although preludiados in the first quarter of the twentieth century by Kandinsky, and with an extraordinary radicalism, were lifted by the middle of the same century movements that refused to all figurativismo any degree of validity in the territory of artistic or aesthetic genres classic painting not only persisted through conventional forms, if not renewed the passage of the new contemporary aspects such as cubism, surrealism, neo expressionism, finally, to connect, late in the second half of the twentieth century, with movements such as pop art and hyperrealism that nourished the first multiplication of the image due to industrial production and the development of the media, and relying on the second discovery of photography, led the figurative in its whole and each of its genre in particular, to new states of manifestation and development, from which are renewed, once again, the indomitable presence classical, baroque, symbolist, expressionist and abstract even in a painting whose strength universal seems to lie in its ability to make use of all languages, that it is indifferent to perpetuate death certificates which in turn will have been issued by each of the apocalyptic vanguards. It is in this historical context that appears towards the last decade of the century scored Bellarmine Miranda's work, work from its origins founded on observation and rapt in contemplation of the human figure (all figurative core), and finally to that paradoxical figuration to abstraction that is the naked, and from there back to the creation of his private universe, only possible here and now, a process that gives autonomy and separate it contemporary without even a moment of history. Then arises before our eyes, a work that, while sometimes comes in boxes filled with warmth and candor, expressing, oblivious to any rhetorical element, the tenderness of the beings around him, often also sometimes drift into stylistic coolness the class related to that tradition restored by Masolino (on the border where they mixed the late Gothic and early Renaissance) thus defining two directions clearly perceptible ranging between the artist's work. In the first case, often appear in his paintings (generally small), small groups of people indoors getting atmospheres achieved convey a sense of intimacy that we recognize as that achieved alongside those we love . Then faint halos around the heads of women and children referring to the innocence of nudity in a double and perhaps unconscious story of paradise lost for humanity and one that each of us has lost in the west of his childhood. Now closer to the Symbolists, and on the other line of its creation, the artist is immersed in self-contemplation, some unintentionally revealing their deepest convictions: a world in which the body combines with the landscape, under a pictorial treatment makes consubstantial, to testify as it can be done only by the symbols, in deep silence, the idea that the divine spirit animates all the particles of the universe.
In these works, it is notable for the solitude of the female figure in the painting, image always present as the hub of a rigorous core composition and precious color play, often sumptuous, so that giving Ingres , Jerome and Francisco Antonio Cano is inevitable in his presence.
Either way, a feeling (or feeling?) Of silence emerges from some of these pictures. The play of light and dark nocturnal urban landscape arising do perceptible. Then it suggests that these recumbent female figures are only the symbol of all women, the archetype, the fundamental myth, the matrix, coincidentally, all idealism. And it is this philosophical discourse of the work (sometimes from one format so humble that these reflections would relacionáramos hyperbolic if its size) that creates the atmosphere that synthesizes, appropriates and reworks Gothic, classical, baroque and romantic, in whose funds are no longer Renaissance palaces and castles, if not cities, skies lit, magnetic, expressed in a formal language classic, funny paradox that might suggest the more radical naturalism that insists on being at this time not only reduced to his memory, with the contemporary dialogue today.
The significance of the presence of the nude in art, can only be unraveled to the extent that we approach the knowledge of the parallel and interacting histories of different cultures. Outside the complex's original sin so deep impact on societies and Christian beliefs Hebrew, Greek culture, at the height of its glory, exaltation lawful found the beauty of the naked human body, through the appreciation of artistic production and revaluation allowed, almost two thousand years later, the appearance of the art intense moment in history known as "Renaissance." It is in fact the extension through a thousand years of worship through art nudity (abarcandos also republican and imperial periods of Roman history) associated with its almost complete disappearance during hegemony, also ancient, Christianity primitive, where the symbolic content of nudity and its historical and cultural connotations in the artwork could be elucidated. Full of symbolism alluding to the creation of innocence and sin among the Hebrews and relating to nature and the deities for Greek and Latin, and in Greek culture predominant Christian West from the Renaissance, appears naked prone ambiguity or multiplicity of meanings in a context fraught with philosophical, religious and social something that is necessary for interpretation or reading, and even for your enjoyment, a conceptual framework and a wealth of information that is in the long run elements that prevent a phenomenon like the survival of the classic genres of painting in contemporary art, is shipped with the easy expedient of sending it to the recycle bin.
The most recent work of Bellarmine, declares and the emergence of a new style in which converge the distant classicism and romanticism spiritualized whose presence we have already noted in the artist's work, and interacting in parallel development, have finally synthesized tables that in the solitude of bare designs baths, walks own means of industrial society, the naked body of a woman and water together in a show of plasticity, as contained however, that does not prevent there such virtuosity that it can perceive the presence of an ancient ritual, by which man recognizes its origins within the nature of whose estrangement, these pictures seem to tell us, by virtue of their sensitivity, their pain and of their struggle, has finally been redeemed.