The sculptures of Muriedas are spellbinding. One looks through the rough surfaces of their families sitting on mud or bronze benches and has the feeling of being present in an immobile and elegant show that is offered to us, in its distinguished hieratic serenity, in exchange for everything that it hides.

The sculptures of Ramón Muriedas can not be understood without being carefully observed. Each one of the pieces are elaborated humorous and expressive investigations, sedentes melancholic or mocking appearances where each spectator has that kind of restlessness. The figurative depends not only on the technical skill and the material used but above all on the significance to cause its effect. Muriedas is a sculptor who has experimented throughout his life not only with the forms but above all with the contents or meanings of his sculptures, maintaining, however, the discretion of a good realist who constantly experiments with each phrase, with each piece of clay and, nobody notices.

Reflecting on the art of Ramón Muriedas, one reflects, without wanting, about the Lost Paradise. And this makes his sculptures defy time and turn out to be very beautiful, deeply disturbing.

In the field of art, Muriedas is inspired by Moore and Giacometti; the first, especially important in the first years of his vocation, but whose sense of construction will always remain beyond seduction by certain episodic forms; the second, decisive when it comes to achieving that stylization that will characterize his sculptures.

But we would like to add other suggestions for specific or indirect that result: those of the Donatello who sculpts the Magdalena from the Baptistery of Florence, a piece of pictoric and crisp texture; or, already in the contemporary world, those of Arlequín -1905- by Picasso, or La musea dormida -1910- by Brancusi.

He sees everything from a family point of view, he wraps stories with condescension, with tenderness. Here is the possible key to this repeated formula of magical realism, of its effusive way of contemplating the anonymous poetry of everyday life. This modeler of dreamy and fragile creatures is not at all disoriented.

In an insensitive way, contemplating some of Muriedas’ works, this refined, subtle art comes to mind. It is enough to contemplate the faces of his works to realize that there is in them a completely modern pathos. I will not say “contemporary”, but “modern”. Why? Because the heroes and heroines of these compositions, or the isolated faces of women, make us think of characters from well-known works, of women of some Chekhov narration, of poetic and fictional characters that are obscurely familiar to us.

Muriedas makes you think, not just enjoy. The contemplation of their groups leads us to rare “associations”. I have spoken of a Russian novelist, but I could think of French poems, even piano sonatas. Everything intimate, melancholic and a little bit out of date.

Muriedas, delights with the arabesque, the curl, the exquisite. It goes beyond reality, transcends it, reaches its mysterious essence. Their creatures have something of beings of always, of never, given to unreal meditations. This sculptor, I do not know if sooner or later, is a poet, a creator of essential forms in time.

From his current position as a faithful sculptor to figuration, although he is represented with a neo-baroque, magicist language, he continues the search for an expressive syntax typical of his spirit and the spirit of his time.

An excellent sculptor, so excellent that he is able to approach the bibelot dangerously without ever falling into it, in the trivial. Without ceasing to be a full-length sculptor.

That sculptor’s voice was a personal voice, unique, out of any fashion, silent, coherent, timeless though somewhat ancient, which went unnoticed by most critics and artists of that time, engaged in a struggle of plastic trends and a debate ideological and political that Muriedas were alien.

When that afternoon I entered an exhibition hall, I was immediately attracted to sculptures modeled in clay and cast in bronze and I was invaded by a strange sensation that I know well, that inevitably leads to a deep friendship with him until the then unknown artist and in the need to own a certain work of his. I keep it by my side. Time increased the dignity of his stature, the beauty and emotion that his figure gives off. In a small corner, is part of my essential place.

What quickly attracted me to his figuration was the sharp contrast between the slight modeling of the faces and the rugged and vibrant movement of the dresses. To this peculiarity of the treatment of matter was joined a hieratic fixity of expression and gestures, with the clear function of accentuating the entire contemplative and introspective condition of the characters.

There is a deep emotion in the groups, which plants the figure, almost as if it had roots, in the place where it has been placed, and there is also a sweet, ineffable aura of incommunicability, an atmosphere of individuality, but which seem to find moments. of communication, of understanding, of shock at an intimate level, in inner listening, in emotional dictation.

The subject fills with expressive capacity, resuming and continuing the lesson of the most classical figurative plastic search of our time, from Rodin to Medardo Rosso, from Giacometti to the poetic of everyday George Segal, but it is rescued from each model by poetic intensity and by the particular atmosphere of investigation and listening in the magical silence and reminiscent of the interior vision.

Las esculturas de Muriedas son testimonio de enorme sensibilidad y refinamiento. Transmiten la idea de un artista simultáneamente melancólico e irónico, signos de verdadera calidad

In the case of Muriedas life and work intersect creating a unit of behavior that the author will respect throughout his life.

Models with self-confidence, their textures are volatile but always close to a bone infrastructure, firm and precise. I imagine that the movement of his hands resembles the fluttering of a butterfly.

Their seated figures want to occupy the horizon, their interiority to expand outwards, to seek contact with us. For his isolated figures he wants the ascending vertical, that his narrowness exerts an inward pressure and thus, his soul, can demonstrate his anguish.

Ramón Muriedas, demonstrated and achieved in life everything he had. He was a sculptor with a unique language. His sculpture is to pay attention, look at it; Being very sensitive, he is very kind and charming. He had a very good time liking a core of people in society, but time made his work fall into oblivion.

Together with my wife, María Moreno, I traveled with him to the FIAC (International Contemporary Art Fair) in Paris; He behaved very well when I presented my works there.

On a personal level, it was easy, pleasant and friendly; . We had mutual friends. For years we agreed on the Jury for the award of Civil Engineers, Canals and Ports.

The portrait of Ramon Muriedas does not refer to a momentary attitude but to the permanent stratum of the person, which is below gestures and emotions, which remains intact in the course of the variable influence of the hours and days. Undoubtedly with a little emphasis on that you can call the character, because the soul must be invisible. When this attitude is turned on adolescents the result can not be more pathetic. They seem like prophets of themselves who, with a quiet gaze, embrace both their long future and their brief past. And if you add to that the furious and flaming touch of an angry clay – the heir of Rodin and Giacometti – it will be easy to understand to what extent the sculpture of Ramon Muriedas is of all time, from today to tomorrow, tomorrow to yesterday.