BARTH'S COMMITMENT

Born 45 years ago, the Romanian-Hungarian-born László Bartha, belongs by right to the roster of artist Leon contemporaries. Fully integrated into the local art circuits, its openness and daring spirit make him a professional solved, effective and proven honesty, which has won the sympathy, affection and appreciation of artists, intellectuals and how Leon on foot you know, they are not few. And, after nearly three decades of stay in Leon lands, Bartha knows of sociology, culture and traditions Leon as much as anybody. In other words, has taken every minute your stay with us.

Shrewd man, detached and with a strong sense of responsibility, Bartha moves in a triple point within the art world: as a decorator, and teach as a painter. Would have wanted to devote himself to painting, but the first requirement of his personal circumstances he claimed, together with Doina, his wife, ensuring stability and development of their children, Andrea and Raul. Guided by this goal, did not hesitate to enter the one hand, in the fields of decoration, as testified by the many catering establishments in our province has made in its implementation work and talent, and, secondly, in the world of food , speaking with expertise in the consolidation and retrieval of coffered ceilings and walls of some city landmarks such as Fundación Vela Zanetti 'or the episcopal palace.

As far as education is concerned, Bartha heads three years ago Leon Arts Centre, located on Calle San Lorenzo, school of painting master Michelangelo began in February and attended by children, youth and adults who share a same fondness for the colors, the canvas and palette.

And when it comes to his doing painting, nothing more eloquent than the images that follow. Indeed, in the catalog that Bartha put in circulation today, collect a sample of his artistic production between 2000-05. Obvious in the first instance, being able to join running more or less kind, has preferred to maintain a own line, very personal, we could affinity with painting and sumptuary manifestations of the classical world, from the stucco and other materials.

There are symbolic representations of sea creatures, or concatenations rhythmic harmonic elements, filled with a measured brightness chromatic, warm and without saturation, or outlining the astronomical time and condensation as it happened, as a historic scale events which become in new series defined by slight tonal nuances, variations, in short, about life itself, or the proposals for wind and string instruments in orchestral settings suggested by forging colorful essence of the instrument itself, or awards for Science, human solidarity and generosity, the miracle embedded in architectural geometries and the flesh of the Christian roots of Western ...

Bartha brings us a symbol that subtly encourages all upon the objective fact of the representation, and invites us to analysis and reflection through both the nominalism of the work and the dynamics that prints on plastic execution. And if his technique and colors lead us to think about future and fiction, in a second reading, we find a strong commitment and a commitment to life as each day brings the challenge. What remains to be a good strategy to face the future with guaranteed success and fill the time between now and the end goal. It is the source of the impetus for Bartha to stay the course chosen. Because, lest we forget, this life is also of rapture calling. And Bartha has.

LINARES-RIVAS MANUEL DE Eguibar

Leon April 2006