Álvaro Martínez-Novillo (Madrid, 1948)
Historian, Art Critic and Writer. He was one of the main architects of the return of Guernica to Spain. Director of the Contemporary Art Museum -currently Reina Sofía- in the eighties.
If we were to define Ramón Muriedas, I think that nothing is more accurate than saying that he is a sculptor absolutely faithful to his concept of beauty. It is difficult to remain indifferent to his works, since they are endowed with a human attraction that quickly erases all distance between her and her beholder and establishes a spiritual harmony.
Their women, their children and their male characters respond to a sense of beauty full of nostalgia, static and alive at the same time. They are beings submerged in stillness that wait but not languid. They have clear-cut spiritual heads, intelligent and sensitive eyes, stylized bodies and fine hands that culminate in the psychological portrait of the character. The figures of Ramón Muriedas are unmistakable and before them a deep attraction is felt, because they are full of poetic breath. His girls seem to us in the background torn from the verses of Garcilaso and, of course, related to the model of beauty that Boticelli advocated, clear figures, not heavy, not sensual, full of a lightness that makes his image almost a dream memory .
He models with bravery and also wants the presence of mud to be very evident in his figures, even though the faces, necks, hands and feet are finely finished, the shallow garments that cover the bodies are sketched and modeled with brave furrows in the mud that later are transferred to bronze, and this creates a real tension in his sculptures that undoubtedly fills them with life and freshness.
If we consider as one of the goals of any work of art that, apart from its formal beauty, is capable of transmitting an emotion to the viewer, we must consider that the Muriedas figures are paradigmatic of it, since it is very difficult to remain indifferent to they, because they are endowed with a human attraction that quickly erases all distance between her and her beholder and establishes, in addition, a spiritual harmony that is, of course, more valuable than many of the creative speculations that some artists are forced to do before the claim of the new. Therefore, we must remember that Muriedas is a classic of serene emotion.
Álvaro Pombo García de los Ríos (Santander, 1939)
Poet and novelist. National Narrative Prize 1997. Academician of the RAE since 2004. Planeta Prize 2006. Nadal Prize 2012.
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.
Francisco Calvo Serraller (Madrid,1948)
Historian, essayist, art critic, curator and professor of Contemporary Art History. Doctor in Folosofia and Letters. Scholar of Fine Arts of San Fernando. Director of the Prado Museum 1993-1994 and Founder and Patron of the Council of Friends of the Prado Museum
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.
Julio Caro Baroja ( Madrid, 1913- Vera de Bidasoa, 1995)
Anthropologist, historian and essayist. Academician of the RAE and of the Royal Academy of History. Prince of Asturias Awards; Gold Medal to the Fine Arts; National Award of Letters, among many other awards.
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.
José Hierro (Madrid,1922-Madrid 2002)
Poet. Member of the RAE. National Poetry Prize; Prince of Asturias Awards; National Literature Prize; Cervantes Prize, among many other awards.
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.
José Antonio Fernández-Ordóñez (Madrid,1933-Madrid 2000)
President of the College of Engineers of Roads, Canals and Ports. Great aficionado to the Art, he was Professor of History and Aesthetics. Scholar of Fine Arts of San Fernando. President of the Board of the Prado Museum.
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.
Giorgio Segato (Padua,1944-Padua 2011)
Italian art historian, curator, critic and poet. He was director of the International Sculpture Biennial of Padua and Contemporary Art of Vicenza; He also participated as a curator and jury in various exhibitions and international awards.
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.
Manuel Múgica-Lainez (Buenos Aires, 1910- Córdoba, 1984)
Writer, art critic and Argentine journalist. Member of the Academy of Letters and of the Argentine Academy of Fine Arts; National Prize of Literature of his country and Legion of Honor of the French Government.
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
Julio López Hernández (Madrid, 1930)
Escultor. Premio Nacional de Artes Plásticas, 1982. Académico de Bellas Artes de San Fernando.
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.
Antonio López García. (Tomelloso, Ciudad Real,1936)
Painter and sculptor. Scholar of Fine Arts of San Fernand
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.
Juan Benet ( Madrid, 1927- Madrid, 1993)
Civil engineer. Great fan of the Plastic Arts. Writer and essayist of enormous talent and originality. Critics Award and Finalist Planeta Award.
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.