Cándido Fernández Mazas. Los dibujos de París. 1925-1927
José Manuel Bouzas

"Here he suffers a brain under the heat of a star. Shortly before the catastrophe is released into the work. It develops here a profound tragedy; It is a tragedy, exemplary, a tragedy of nature. "

816. Diarios. Paul Klee.

Before the work of Cándido Fernández Mazas struggle in me two sentiments. A portion loyalty and gratitude to those few lines of plastic or literary expression, remembering, -and therefore impidiendo- immersion into oblivion, his death, his disappearance from memory, time and history. And on the other, the jealous custody intend to exercise over the wound site by indiscriminate and tendentious unwholesome, public and hopelessly looks.

My dilemma is that I must decide between being a traitor who incites "increasing the mass of fans, friends, those who wish to do justice at all costs and who do in fact only precipitate its fall."1 Or be between true and silent lovers, pudorosos guardians that "the misfortune to be known should be downcast about it," that "Deserve to have remained in the shadows, in the imperceptible, have remained as unattainable and unpopular as it is the nuance."2 effectively that was his field.

His sparse and delicate work begins to spread promiscuously by books with flaps that marriage, by subject, by author and style is always contradictory. Or accompanying texts as an ornament, or presentations of this or that poet, in small booklets, including books published by his brother, ultimate enemy you want to do justice at all costs.

Cándido a pesar de haber luchado denodadamente para que su arte fuera enteramente suyo, se ha convertido ahora en funcional objeto decorativo, en ilustración anecdótica, en tema de erudición o de debate. ¿No es acaso ésta la ausencia última de matiz, la muerte definitiva por identidad incorrecta a la que todos poco a poco lo vamos abocando?

Él se había marchado anónimo en el silencio denso, oficial, periférico, indestructible, eterno de 1942. A nadie pidió que lo resucitase, enterrarlo de nuevo cincuenta años más tarde es excesivo; sin embargo también animo y me sumo a la comparsa funeraria y escribo esto, que no es más que un intento de recuperar la etapa de formación de un artista que se presentaba entonces capaz de dar una obra original, plena de madurez, contemporánea, universal.

En el Orense de los 20, provinciano a pesar de todas las salvedades y los esfuerzos, largamente descrito ya, aunque no suficientemente, a una generación comprometida con una determinada idea de Galicia, sucedió otra intelectualmente distinta. No podríamos saber hoy cómo hubiese acontecido el transcurrir ideológico de ambas, de no haber mediado una circunstancia traumática como la guerra civil. Y aunque la historia nunca se escribe con hipótesis, prestamos atención a Cándido como pionero, como vanguardista; porque su historia está hecha de retazos, no está cumplida. Es la visión romántica de “lo que pudo haber sido y no fue”, y que lo dota de un aura específica de singularidad.

The difference of these two overlapping generations in physical space and time, was substantially an aesthetic attitude.3 Unos trataban de construir una realidad cultural enraizada en los pocos elementos a los que podían asirse, mientras que la generación más joven tenía conciencia de pertenecer a una colectividad, sí, pero con voluntad de trascenderla, o de incorporarla en lo que tuviera de válida a su arte. Su esfuerzo era de amplitud, de categorización, huían de la anécdota folclórica. En el caso de la plástica esto es mucho más patente, dada la ausencia de huella étnica o ligüística en el proceso resultante. Buscaban más la pertenencia a una comunidad de espíritus que a una colectividad determinada por el lugar de nacimiento.

The aesthetic thought of generation We It would be represented exclusively by Vicente Risco -Castelao belong all his life, both its expression and its plastic thought to a novecentismo4-. Risco Noucentism instead is limited to the time of Centuria. He had previously been shown to adopt more radical aesthetic attitudes, such as during the early years 10. His new aesthetic orientation surprises5Because of an elitist snobbery trasnochado - at the end of the 10 the vanguard is no longer there-it goes to a kind of unsightly: localist character of populism that claims ways to "content" contemptible formal, blandenguemente literary, camp, neo- romantic, neo-folkloric, neo-realist, whose heavy inheritance still endure.

Hardly a vanguard artist could generate from Orense, or from Galicia for more than pretendiese. "The cult environment," intellectually decided, had its own interests and propaganda, the vanguard, or any other aesthetic experience, enclosed in itself suspicious ideological differences, when not generated from radically opposing positions thought. This was the case regarding the generation Candido We.6

The market could not absorb enough production so that this art could curdle; just in case some illustration in the press, and that was a merely utilitarian, subsistence work. The need was a creator should become humorist, must also -here activity rather than any, please generality, be sympathetic, sparkling, "retranqueiro" ... the artist away from their primary effort.

Seoane's statement in the article dedicated to Arte Gallego S. XIX protect ... stopped. the art of his country. Not properly maintained or official bodies, nor the crass average Gallego, and led to the banishment of the artists or the cancellation of true creative talents, only when were beginning to live; diverting their vocations,”7 It is fully applicable to the period of cultural drought that followed the Civil War, but also the immediately preceding and in which Generation We It was not only the prevalence but also the cultural monopoly. I continue quoting someone so little suspicious of antigalleguismo as Seoane 'The previous generation of Castelao, Risk and Otero Pedrayo remained relatively foreign to these events and the magazine as we daily problems in literary, was not in the visual arts.”8 Although about Cándido was a general acquiescence in their talent -in the magazine We two drawings, one of them at least made in Paris- and reproduced in this book two original pencil sketches were included; Seoane says that it is precisely true; and adds: "The real revival may be said in 1930, when a vigorous youth interrupted the intellectual life with real renovation efforts; and the middle class Portuguese began to show signs of his responsibility, Maside, Souto, Colmeiro Fernandez Maza, among others in painting; Eiroa in sculpture, and a very large handful of writers have made possible this desire Renaissance.9

From this we can deduce several things: 1 to Mazas is recognized from the outset the role of vanguard and forerunner, despite being his very little work.

2nd. There is a chauvinistic desire to claim a Galician art, as we can see, even materialized (if perhaps with Seoane). Each chose his path in the period following the Civil War (Granell, Maruja Mallo, etc) and the current contemporaneity each mimics the hottest trend.

3rd. It is true that the Galician middle class consciousness shows give anything if perhaps a minority; as usual, even today, lacks sufficient culture to be able to discern in matters of art or good taste10 and evidently not concerned.

La etapa que sucedió a la guerra civil es enormemente confusa. Por una parte la generación más joven estaba dividida y desmembrada; un hombre como Montes por ejemplo, había hecho la guerra con el bando ganador, Álvaro de las Casas había optado por irse al exilio a pesar de las recomendaciones de Montes para que se convirtiese agente de los Nacionales en Portugal, otros habían tenido puestos de directa responsabilidad política, con una izquierda estalinista y represora y habían sido duramente cuestionados por Cándido; de ahí el resquemor que produjo en algún momento que se intentase recuperar su memoria. La generación We survived and although sharing cultural space with later generations, equally interested in the recovery of "the Galician" he continued refereeing cultural life or serving as a reference, referring projected as someone told Otero "A huge shadow ..." on other models and cultural realities of who is or has been a pale reflection in Galicia or it has not been so at all.

Despite all the vanguards Risco appreciated the appreciated all his life11 although the choice to which I alluded above (see note 5) would produce in him a deep contradiction drag forever and that in certain periods, set about a massive disorientation.

How to explain then that the Risco interested in your day-unless Joyce was another snob- pose, which he collected and jealously guarded -Anton Risco Mazas drawings preserved in Canada at least 10- vetoed Candide, when nobody objectively I could have more up to date in visual arts; and faithful to the maximum Baudelairean-rimbaudiana it was absolutely modern?

Always in line with the writings of Seoane mentioned above, access to avant-garde literature in 1920 was easier to do a fully contemporary art. A literary contact can be maintained epistolary, literary news can be received on time by an importer-distributor, however plastic art considered not only the development of a visual and manual skills, it also involves a culturización and global reflection for production is the resulting "plastic projection of human thinking12 and the result has real intellectual value.

Another reason could be the same for the writer, any enriching experience could be beneficial to his art 13; sin embargo la historia de la literatura demuestra que esto no es así, pues el literato inmerso en un ambiente estimulante puede llegar a la banalidad si no persiste en un esfuerzo y autoexigencia creativa y, en definitiva todo lo que necesita es papel y algo con que escribir. Lo demás es maceración y carácter. El artista plástico en cambio necesita estimularse visualmente. Su manera de entender y de expresarse es visual, de ahí la importancia de sumergirse en una realidad puntual contemporánea y viva, y destilar sin filtros representativos su propia experiencia, su propia memoria visual, cromática, estética; más fiel y más “auténtica”, cuanto más “auténtico” sea el original que proporciona la memoria14.

Es en este sentido en el que la concesión de las becas para viajes al extranjero por las Diputaciones a principios de siglo tenga una importancia capital para la formación de artistas que, como Cándido –quien era totalmente autodidacta–, pudieran acceder a una formación académica –y ese era el pretexto–, o a una formación extra-académica –la auténtica, acaso la única posible– y esencialmente moderna. La negación por parte de la Diputación orensana de la tercera beca a París vetado por los diputados nacionalistas, es determinante no sólo por previsible ruptura de un aprendizaje correlativo –años 25, 27, 31– que pudiera tal vez haber culminado de otro modo, ni por lo que significa la revancha de estrechas mentes provincianas asimiladas ya a la cicatera y mojigata dinámica de partido, sino también porque el incidente que provocó este veto15 It explains better than nothing clear political and intellectual positioning of Cándido regarding Galicia and as a man of ideological purity was explained step positioning with respect to art and Galicia16And their future choice between art and literature as well we could have an origin in the budgetary gap to form properly.

Although they are known at the Orense in the first 20 through Montes and other and isms, Naively thought, who art and hurl Doing so rigorously, should generate a Ismo new17. That way surrendering to absolutely art (it is unusual not only in Galicia but also in Spain), was also prophetic, surrealism was to emerge18, el cubismo no se conocía muy bien, ni se había asimilado suficientemente, (no había perspectiva histórica, ni tampoco se tenían en cuenta los casos particulares que hubiesen generado una obra suficientemente original, novedosa y coherente y no adscritos a ninguno de los ismos en boga, por ejemplo Brancusi o Modigliani), se daba además la circunstancia de que en Galicia no había tradición artística de vanguardia que se hubiera desarrollado mínimamente. El esfuerzo de Alfar es meritorio pero insuficiente. Cándido, no sé si con contradicción personal sangrante (a pesar de que aspirase a realizar un arte universal, como lenguaje universal que es) fue el único que planteó el problema del arte gallego, tampoco sé si en términos de coherencia sustancial como dice Mon19But expressly and in writing. Perhaps the idea to Candido move was similar to the idea of ​​America that will drive Carpentier20 to launch into his work. Nothing had to lean except for the novelty of the proposal craved.

Cándido always hesitated where to channel their artistic sensibility. Given its status as a draftsman it was logical that his career should be directed towards art. But besides having sensitivity and expertise was also a thinker, an intellectual who sought to combine all aspects of life.

Su vocación no estaba definida. En su segunda estancia en París apenas dibujó perteneciendo la mayor parte de la obra que se presenta fruto de su primera estancia en el año 1925. Su preocupación en la segunda estancia fue su formación. Leyó mucho, también estudió inglés con la idea de marchar a Nueva York; idea sorprendente pues el interés del artista europeo por los Estados Unidos no comienza hasta que la segunda guerra mundial no es inminente y, por supuesto en todas las décadas posteriores a los 40, convertida ya en gran potencia cultural, perdidos sus complejos ante Europa, siendo ya vanguardia y directriz estética.

In addition arose a need that other children have felt the time also, the creation of extraterritoriality, his scenery volunteer, impotence despite everything ....

Inhabiting cities such as Madrid, Paris, New York, was difficult but contact with the Marchands21 it was possible. It is an inexorable law which plan above pure intellectual desires. Orienting the existence where there are more job opportunities for single demographic imperative ... and yet this stimulus, this challenge to the artistic ability itself almost always gives its best fruits in the sheer struggle for survival22.

If two months of the first stay in Paris we have no references to his activity that his drawings, this prolific stage in which mainly the effort was aimed at drawing the natural; There are however some books dating from the 25th year that let us know of his constant concern for the theoretical contribution, such as Art and madness Jean Vinchon, Paris. Stock, 1924. Otherwise it is visually fed visiting exhibitions, he frequented the social gathering of Unamuno La Rotonde (Hence the portrait that made him published in New Spain). The need to assert itself in a mythical space if the return to the provinces was particularly hard and impossible by definitely makes firm "Paris in the Rotonde 26 mai 1925", in a monograph of Mary Laurencin.

The second stay instead we vestiges scattered books, small reliquaries of successful passing of time. They no underlining or notations that allow us to track impressions, but only the book itself, your choice: Rimbaud, Cocteau, manuals English, but with magnificent drawings on the endpapers.

To get a clearer idea of ​​what passed those stages, we have likewise the presence of Montes, who also had been granted a scholarship and that although his stay in Paris did not coincide fully with Candide, as shown in the correspondence of this received Orense once back. Montes sent from there a series of articles commenting on his impressions and adventures, and where we know Candide very close; They were published in The ZarpaIn the course of 1927, with the heading Paris sidelong23. These brief notes allow us to have a world view in which both were developing.

It would be interesting to also document the accuracy of their contact with Satie, much more interesting than might have had with Matisse or Tzara24.

The fact that Matisse was already a recognized painter tells us nothing about the unerring sensitivity to detect Cándido essentially extraordinary, referred to by Torrente. In the case of the musician but he had not come to occur, it is clear the fine sensitivity to prefer a new and melancholy music like Satie, who as a premonitory counterpoint as well go to the erratic, passionate and fleeting existence of Cándido own.

Satie was defined as the unhappiest of all men25 and that empathy was the one who caught a glimpse Cándido with immediacy. What happened to Satie music, Candide happened by drawing, painting and literature.

Nothing but let us track him down in Paris except for his own surrealist texts.

As for the drawings, most are copies of the natural. If we compare these drawings with those of Giacometti who inevitably had to match in classrooms, we found that worked exclusively Cándido line, gesture. There are very few drawings that deal with work in the shade or stain. You will essentials. The difficulty is enormous. It is visually memorize the model, and you certainly run the drawing strokes in which the risk is total. It plays everything on one card without lifting the pencil from the paper until the stroke has not described much of the drawing, then another stroke further and another, until finally, very quick26.

In Giacometti's drawings, 'I take as reference run at the same time and in the same space- see a Mannerist and artisan concern about the methods of cubism, interesting as an exercise, but you do with 16 years behind the movement .

Educating the line as did Candide at that time just did Dufy, and although line applied to the creation naïf the result is merely decorative, and no evolution in one way or another in over sixty years of creation.

-and case before him Gaudier-Brzeska only worked in a similar way, and there is no stylistic or visual similarity, but there is also a similarity of themes and therefore execution of mechanical difficulty: naked of men and women drawn from life, deer, birds and fish.

Gaudier line is calligraphic, especially in the animal drawings -the intensity and thickness variation is an execution trace "the Chinese way". In the remaining drawings in fine line, the method is similar to that employed by Candido. Gaudier always adds some line within the contour can be to explain a shoulder or hair, or top of the foot, fails to refer to the single line contour, volume or anatomy27. Cándido solamente utiliza rasgos esenciales, es mucho más económico. La línea de Cándido es uniforme, no distorsiona su pureza mancha alguna que pueda cortar el ritmo o presente mayor énfasis en una parte del dibujo al variar el grosor de la misma. Gaudier superpone las líneas a veces, otras veces hace que el instrumento repose en un punto para reflexionar y ahí se va sedimentando el material y engrosando la línea. Cándido dibuja con menos titubeo, solo levanta el lápiz una vez que ha recorrido todo el trazo. Su dibujo es sincopado. Igualmente puros los dos, Gaudier resulta barroco, él clásico y exacto.

Cándido desperdició su perfección –o no le quedó más remedio que desperdiciarla– en su retorno a la ilustración y al dibujo de prensa con la llegada de la guerra, cuando después del paréntesis literario de los primeros 30, tal vez se hubiera decantado ya por la literatura o, simplemente y dicho de otro modo, porque la musa a quien intentaba agradar lo impelía a realizar sus ofrendas en el campo de expresión al que estaba consagrada. Decía, en alguno de sus textos que convenía trabajar con categorías no con anécdotas, que convenía trabajar con valores reales a condición de que no dejasen de ser reales, los trabajos de atelier, los de campo, responden a este principio: son ejercicios que permiten obtener una destreza manual, una sensibilización mecánica para que la mano se acostumbre a obedecer al cerebro, pero consciente de que esa realidad que debe trasladar al papel debe tener una calidad plástica pone en práctica un principio que más recientemente ha definido Saura28And does not support the hand to draw. Perhaps it would have taken into account Alain reading29.

He also left a notebook of drawings made in the garden of plants. The working method is the same, also the aesthetic will. His obsession line again increases the difficulty, because the model animal garden plants, deer, parrots, fish etc, are in motion. Only one of the pages contains a sheet, single static model used in the notebook. The exercise of memorization and subsequent synthesis to be executed, require much more discipline and skill that if the model were motionless.

Los dibujos anteriores a la etapa de París son muestras de una estética personal desarrollada intuitivamente, pero realizados con la paciencia y le precisión de un amanuense. Los dibujos y caricaturas sobre un fondo negro requiere un boceto previo por el que guiarse, pero sobre todo requieren que el dibujante apoye la mano para ejecutar el trazo y consecuentemente el dibujo es pequeño.

Respondiendo a esta finalidad de trabajo algunos dibujos están machacados obsesivamente, repasada la línea por su parte trasera, buscando en efecto compositivo o de belleza formal más que la fidelidad al trazo guía –el motivo no era más que un pretexto– para obtener una línea más pura y precisa aún, si cabe, pero con efecto espejo. O bien emborronaba el envés y repasaba el dibujo a lápiz duro para obtener un nuevo dibujo como si el calco se realizara con carboncillo. La imperfección de la línea. Se diría utilizando el término de Saura, que la trayectoria de la mosca solo quisiera utilizarla como contrapunto pero sin que escape a su control, deliberadamente. A la perfección exhaustiva de los sucesivos trazos del cometa ya sean grandes o pequeños– que completan el dibujo en su casi totalidad, añade otros, un ojo, un dedo, una uña, que utiliza para componer, pero nunca al azar. “No separate the paper instrument would in principle achieve continuity of tracing comet see instead as the minimum rest causes, incidence, at the juncture of the groin, the jog look and surprising flight staccato fly. "Saura op. Cit. P. 176, 177.

It's the same principle that Chirico referred to as "the art of stopping the line30. Candido, unlike Francisco Miguel, who in his drawings not separate a single line, even empty space used for composing the hollow voluntarily unfinished drawing.

En medio de estos dibujos de París, aparecen dos soprendentes. Son unas copias de Velázquez de gran exquisitez y fidelidad a los originales, perfectamente encajadas las masas y captado el ritmo, pro sumamente sintéticas. Se trata del retrato del “Príncipe Baltasar Carlos, cazador” y el “Príncipe Baltasar Carlos, a caballo”. Obviamente no han podido ser copiados del original, probablemente fueron realizados a partir de una postal o de una lámina –y aún siendo una concesión a la academia como disciplina– no dejan de estar ejecutados desde el lenguaje que postulaba y que podía abarcar, sin dejar de ser fiel, amplios registros, distintos acentos pictóricos.

Despite contingencies, Candido managed to freeze time for us. The time in which he lived and he executed his drawings, with the drawings Candide himself, his real experience "the gap that separates -time blanket being of himself sensitivity made by estetogramas (since estetogramas are prioris sensitivity and the conditions of actual experience) has a time does not pass, that is frozen in space, like a painting, a drawing, or map.” José Luis Pardo. On spaces. Ed. Serval. Madrid, 1991. Pages 63, 64.

How strange fate of Mazas survivor in the 40s, a time when he had debated between the austere bohemia31 panic and irrationality of fascism, with its elaborate, artistic sensitivity limadísima about to bear fruit. Out of context and he was called folded in bloodiest fights, "in Drados, the High Country"In the harsh winters of the first postwar period, the howling wind, the paralyzing cold, wet sheets, the lurking danger, the intense vede dotted with dead and fleeting fog trees? Occasionally he passes a tiny figure on the back of an animal walking quickly, magnifying the scenery-. So who remembered and art, or literature, or or Paris or The dome... All that effort was sarcasm, irony.

Cándido it was a deep tragedy; a tragedy, exemplary, not even a tragedy of the country or culture or history, but "a tragedy of nature.”

Originally published in Editorial swallow. Ourense 1993.

1 Emile Cioran. Admiration writings. Tusquets. Barcelona, ​​1992.

2 Emile Cioran. Admiration writings. Tusquets. Barcelona, ​​1992. Op cit.

3 In the sense Wildiano.

4 Luis Seoane. mixed communications. Editorial Galaxia. Vigo, 1973. Pag. 109.

5 Des Esseintes, the protagonist Backwards, A book that influenced both Risco, you must choose between life and art, definitely irreconcilable. fatally pessimistic message that made exclaim Barbey D 'Aurevilly after reading the following: "After a book like Backwards, The author is left with only choose between a gun or kneeling before a cross. " Risco as Huyssmans chose the latter. Francisco Calvo Serraller. Images insignificant. Taurus. Madrid, 1987. Page 99.

6 They were neighbors and were supported, but tried not mix. View tribute to Cándido Fernández Mazas, following the publication of Santa Margorí in La Zarpa 26 / VI / 1930, page 3. Otero is the only act that is expressed in Galician and his speech is totally insubstantial, circumstantial.

7 Luis Seoane. mixed communications. Editorial Galaxia. Vigo, 1973. Pag. 108.

8 Luis Seoane. Op. cit. Support. 110.

9 Luis Seoane. Op. cit. Pag.109.

10 See, Avant-garde art and literati. Augusto Maria Casas. The Galician People. 22 / XII / 1925.

11 Prior to the exhibition Gallegos Artists which refers Seoane in its brief, is the letter he writes Antonio Saura Vicente Risco in March 1952, and showing that the change that occurs in Risco much earlier than pointing Seoane (Luis Seoane. Op. cit., pp. 100, 101). It should be noted the close intellectual relationship he had with Luis Eduardo Cirlot, and could not be maintained if mutual recognition of prestige does not occur, no longer related intellectual fields -mito for example but also an accurate and fair assessment of art.

12 Guillermo Pérez Villalta. Art seen by artists. Taurus. Madrid, 1987. Pag. 128.

13 Eugenio Montes he received a scholarship as a literary or intellectual, for the orensana Council. The Risco himself was awarded a scholarship for the stay in Germany which emerged Central Europe.

14 If it is true that the "origin of creation occurs in the memory stays" Guillermo Pérez Villalta. Op. Cit. It is preferable that the artist contemplates the reflection original to occur through the eyes. "The authenticity of a thing is the figure of everything that can be transmitted from the source it from its material duration to its historical testimony". Walter Benjamin. Interrupted speeches I. Taurus. Madrid, 1989. Pag.128.

15 See journalism Fernández Mazas. Editorial swallow. Orense, 1990. Pag. 176.

16 Fernández Mazas journalism. Op. Cit. P. 70, 71, 107.

17 "The problem you have to solve the new paint is the overcoming of impressionism and cubism. Not only feeling, not only sensible idea or ideological sensitivity. Neither figure not only room only.

The new paint will have to solve in high harmony the previous conflict. "Eugenio Montes. Daily The Zarpa. Orense. Friday January 12, 1923.

Se desprende del texto de Montes una necesidad de síntesis entre el impresionismo y el cubismo. Es curioso comprobar sin embargo como nada se dice de fauves, expresionistas, vorticistas, abstraccionistas, dadaístas, orfistas, puristas, stijlistas, etc. Movimientos que se habían desarrollado entes de la fecha del mencionado artículo y que, habían dado cada uno a su modo respuesta a la preocupación de Montes, incluso antes o paralelamente a la respuesta cubista (suponiendo que esa fuese la intención). Sorprende tanto más, ya que de alguno de esos movimientos, del orfismo por ejemplo, había cumplida noticia en Galicia en esas fechas. Los Delaunay colaboraban en Alfar.

18 Surrealism arises not as synthesis, as posed by mountains between impressionism and cubism, but as an Epic, dream and irracionalista jump. No remains however important to Montes appreciation of the fact that the search solution and continuity of the vanguard would rather not consider this dichotomy.

19 Fernando Mon. Historical yesterday young Galician painting. Ed. Do Castro. Sada, 1974. Pag. 24.

20 La importancia de este texto no estriba solamente en el paralelismo que pudiera establecerse entre los posicionamientos de los jóvenes que pretendían en cada arte una búsqueda de expresión nueva y un compromiso con su tierra, sino como explicación a un posicionamiento certero, intuitivamente exacto de Cándido en París en 1925. La época recordada por Carpentier en el texto es de 1928 de ahí su desazón ante la posibilidad de convertirse en un epígono del surrealismo. De otra parte la lectura general del resto del artículo, que no se recoge, pero que da una visión global del acontecer artístico en los años 20, en que la efervescencia y pasión que en Galicia se producía, guarda estrecha relación y puede la descripción de Carpentier exacta en cuanto a actitud y anhelo. Aparecen además protagonistas nexo de ambas realidades, como Barradas por ejemplo, que colaboró en Alfar. Si realizásemos una lectura transversal podríamos ver como el colectivo comunista protegía y amparaba a su nidada cultural facilitándole el modus vivendi y la integración intelectual en cualquier país, en cualquier ciudad, condenando a ostracismo a los no estrictamente afines (Cándido por ejemplo). Ver presentación en El periodismo de Fernández Mazas, Op,. cit. Pags 12 y 13. Circunstancia ésta que al paso del tiempo es preciso explicar no sólo para reivindicar figuras heterodoxas, sino para que el nimbo aureolado de figurones de probada e impoluta decencia moral e ideológica y de crecida obra al amparo de las circunstancias, se vea con claridad. Lo curioso es que, como en este caso, pueda verse todo ello a través de sus propios textos épicos. El escrito de Carpentier es lo que sigue: “… digo de encontrarme con tales gentes (Breton, Artaud, Miró, Eluard, Prevert, Aragon, etc) yo podía haberme dejado arrastrar por el movimiento. Además hacer surrealismo en aquel momento era fácil. Había tantos ejemplos en la poesía de Prevert, de Benjamin Peret, ya estaban sentadas las bases del teatro de la crueldad de Artaud, etc, yo conocía todos los trucos de la escritura automática, del manejo de los elementos insólitos… Me hubiera sido fácil en aquel momento ponerme a hacer surrealismo, y por un extraño fenómeno hubo en mí un repliegue. Me dije: ¿pero qué cosa voy a añadir yo al surrealismo, si lo mejor del surrealismo está ya hecho? ¿voy a ser un epígono voy a ser un seguidor, voy a seguir a un movimiento que está ya hecho, que ya está maduro? Y de repente como una obsesión entró en mí la idea de América.” Alejo Carpentier. Reason to be. Ed. Letras Cubanas. Havana, 1980. Pags, 23 and 24.

21 See Fernández Mazas journalism. Ed. Swallow. Orense, 1990. 46 Rue Laffitte there Among Ms. Weill. Pags. 51 y 52.

22 "... endured easements rumbosidade of dealers with a potentate's spirit, to enjoy the cafes Parladoiros of the Latin Quarter .... In Paris Mazas worked, although by making their currency boards susbsistenza is unfortunate that we had not come to his work that he said, without being told by all fantasy-he had stolen.” Sebastián Martínez Risco. Galicia Emigrant No. 33. (February-March 1958)

23El arte que más encrespa y sobresalta y preocupa es la pintura. (…) La pintura desplazó a la literatura –reina secular– y a la música –fugas y dramática princesa ochocentista– del tono armiñado de la repercusión social. Pues bien, los apellidos que más se citan entre los pintores, son apellidos hispánicos, los pinceles que más empujan son los que han venido de latitudes transpirenáicas. Picasso señero como un Himalaya, sigue siendo la estrella que orienta rutas perplejas. He visto una exposición de cien dibujos suyos en la galería Rosemberg. Y he visto, así mismo ante ellos las miradas absortas y agradecidas de jóvenes artistas de todos los pelajes –escandinavos ingenuos, balcánicos perspicaces. Y en el arte plástico que otea los horizontes últimos, entre aquellos para quienes el cubismo es ya un fortín lejano, son españoles también los más sobresalientes. Juan Miró capitanea el grupo surrealista, mi camarada Francisco Bores asusta y disloca con sus cuadros arrepresentativos colgados en un salón de la Rue La Boetie. Son insisto, hoy los pintores de moda un Bores, un Miró, un Ismael González, un Cossío será –esperémoslo– muy pronto el pintor de Montparnasse, nuestro Cándido Fernández Mazas, and respected by those who respected.”

24 See Encyclopedia of the Spanish art of the S XX. 1. ArtistsDirected by Francisco Calvo Serraller Ed. Mondadori, Madrid, 1991. Pag. 202.

25 "I became a hypochondriac, the most melancholy of human creatures, even continually had trouble seeing clearly. Even with my monocle ... and all this happened to me for music. " Eric Satie. Memories d`un amnesia. Leaves Books VI. 1924 n 35. 329.

26 "Does a drawing is not a synthesis, the culmination of a series of sensations that the brain has met, and last triggers a feeling put into operation, even though you run the drawing with the irresponsibility of a medium?”. Statements collected by Aragon Matisse Matisse in France. This text is Barral Publishers S.A. Barcelona, ​​1978. Henri Matisse. ART. Support. 103.

27 Horace Brodzky. Gaudier-Brzeska. Drawings. London. Faber & Faber Limited 1946. Introduction and sheets.

28The fluid drawing requires both the position of the pen or brush in the air, as well as that of the determined pencil, masters positioned as expectant birds of prey waiting for the call of the seismograph. His desire is to avoid the tiresome stutter. The imperfections that both situations can cause cause the alteration of the foreseen trajectories, including the sudden bankruptcy of the ghost and its tendency to metamorphosis: its own tremor can become the broken and capricious wandering of the fly, and its forced decision in the vertiginous trajectory of the comet Both situations – bankruptcy or dryness – are compensated in his counterpoint dialogue, with the imperfection manifested, provided, in his acceptance of an unrepeatable seduction.” Antonio Saura. Art seen by artists. Taurus. Madrid, 1987. Pag.175.

29 COMMENTS d`Alain. Pags.105, 106, 107, 108. Cap. Draw. The book is dated by Cándido in August 1927, he bought it, on the second stay. Perhaps the ideas they were exposed discussed in the art world and he knew and stay in the first-the book was published in 1923. Despite not contain marks or annotations should have a look at pages 85 to 87, (signs) In relation to the plastic sign that speaks both Candide (See Fernández Mazas by Carlos Gurméndez. Ed. Do Castro. Sada, 1981 Pag. 43)

30 Giorgio de Chirico. Shortcut for the prayer of plástica. Architecture collection No. 23. Bookshop Yebra. Murcia, 1990.Pags. 125 et seq.

31 Eusebio Garcia Luengo. Memory of an ill-fated. Daily Above. Sunday March 13, 1966.