.






It is important, at the time of judging the work of this artist, to investigate what has been his career. Moncholc was self taught and he began to paint in the year 1971. In his first works, t he excess use of color in his red clouds and turbulent brushstrokes dominated his works.  One would say that the material was considered as a subject capable of dominating his emotional immoderation. In the works of art of the time, there was scarcely a compositive  order and women's faces and bodies appeared scarcely a compositive  order  and  women's  faces and bodies appeared over seas of material, as an evocation of a  nightmare . A  highly  positive evolution existed between those  paintings  and  what  we  are  presenting today.
In his current landscapes. The heavens are furious.  One  could  say  that they even issue sounds as if silent battles are  being  fought  in  space. To the contrary, at floor level, a peaceful life is shown to us, which developed in a rural atmosphere: bare fields which Moncholc covers with  tepid  and warm colors, shores which grow green beside the waters, and  always  the human figure: farmers in the furrows, lovers beside  a  tree.  The  elderly on the road to a deserted sanctuary...  
M
oncholc was born in Granada and his exhuberant land, the  trustee of a great tradition of  magic  and  sensuality.  He  has  lived  in  the  lands  of Extremadura for two years.  This  has  contributed,  without  a  doubt,  to tempering the passion of his colors and has made his  brushstrokes  less vertiginous. The landscapes which we contemplate are the  exponents of á  firm order of compositive space. The painter established in many of his  works an ascending  scale  of  horizontal  ideas  so  that  they  appear  in perspective with the lands and the rural habitat. Here, the  brushstrokes  are   repeated   frequently   and  they  splash  into  the  material,  girding themselves around a reality enveloped in poetry.  In  the  horizontal  line and the opening up to  the  space,  the  abrupt  brushstroke,  the  intense color and the violent absorption in a secretly worked material jumps out at us again, with a terse brilliant and consistent texture.       
At the present time, an Expressionism of a Surrealistic nature  coexists in his paintigs, on one hand, and a poetic and even naive realism, on the other, the two currents reach a pact of equilibrium from  which  one  can expect, given the seriouness with which Moncholc faces his vocation as a painter, an ascending evolution as  he  has  been  evidencing  up  until now.
In this same exhibition which we mentioned, a series of  small  formats are offered, that is, miniatures. Here, the brushstroke adds the precise touch to trace the filigree of a landscape  which  represents  a  colorful party.  
This is good exercise for specifying and controlling impulses which are born  from  a  complex  and  emotional  subconscious ,  inclined  to  fly through free spaces and disturbing mobylity.

 Rosa Martínez de Lahidalga     


                                                                                                    .
 
                                                                                                    .