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Emilio Trad is a painter pursuing light, the enigma of  life ; it is not his first  exhibition in Beirut  where the light rains with profusion. (…)  We find, this time also, his amazing vision of a surprising, slightly disturbing world, where fantasy, imagination and pieces of reality have unusual crossings. Luxurious, sometimes poisonous dreamlike visions, with an impeccable pictorial execution, polished up until the finishing touches.  Never oil was so docile, so tamed, so dexterously put for creating effects which make the visitor dreamy, haloed with a peculiar light.

Trad’s rigid approach to composition and for mis reminiscent of Fra Angelico’s Florence. He shares with Tuscany’s Piero Della Francesca and Arezzo their scholary, intelligent and pure concepts of symmetry, rigour and that of a civilization that transcends contingencies and a decadent culture. Trad reveals the change in art of the twentieth century, apart from a malicious wink at Balthus, whom he does not, however copy. His creativity is lucid, personal and exalts another dimension of space through his maturing talent. The formidable hieratic impassiveness of his characters that gaze at us, the classical symmetry of this landscapes that have a human dimension are works of pure art.

From exhibition to exhibition, Emilio Trad confirms his strong creative maturity. A constructivism of relations between faces and profiles of the human figure and, often, of recomposed universes. He encloses, centres his geometrical plans. His work is based on the rules of  proportions and  perspectives established by Vitruve (…). The simplifying of its bodies, the stylization in an unchanging stability of the forms make him, with Balthus, a great classical painter (…). Finally, Trad's work is never tedious, because of the classical composition  without affectation. The imaginative strength of the painter, the discrete symbols in his paintings are natural without intellectualism. (…) He has the stature of  tympanum, apses  and the major chapel painters. Sometimes during an exhibition one would like to hear a  Bach Partita interpreted by Glenn Gould .

A travers ces hommages, véritables clins d’œil à mes «maîtres», tout en me réclamant de la modernité, je plonge dans la tradition picturale occidentale, aussi loin que possible dans

le temps. Il s’agit pour moi d’inscrire dans un seul et même espace, celui d’une toile devenue terrain de bataille, cette confrontation entre la tradition et la modernité. Il apparaît très vite que le résultat de ce défi, de cette comparaison n’est pas de l’ordre de la contradiction, mais bien de la continuité et de l’intégration.

Car la beauté transcende toutes les tendances et toutes les époques, comme une sorte de halo invisible qui subsisterait de manière permanente. Ainsi, L’art, dans son ensemble, voyage à travers les siècles en parcourant toute l’histoire de l’humanité avec un seul ticket, celui du talent. N’éprouve-t-on pas le même plaisir esthétique en regardant un tableau de Goya ou celui d’un Monet ? A-t-on jamais réussi à être plus moderne et conceptuel que les artistes anonymes des peintures rupestres? Et Leonard de Vinci, à lui tout seul, ne résume-t-il pas ce passage espace/temps ?

Je pense, avec cette exposition conforter cette idée, fruit de quarante années de travail, que la révolution dans la peinture se fera à l’intérieur de la tradition et non en dehors d’elle. Tel est mon credo.

 

Emilio Trad