Girl in Black Painting

I lived my childhood in Santa Maria, Rio Grande do Sul - Brazil, the city where I was born, known for its universities and for its air base, however it has its Catholic side, full of monasteries, chapels and churches. I studied part of my school life in Catholic schools where I was constantly encouraged to visit such places and there I had contact with classical art. Sculptures and paintings as they should be, in their highest state. Later, at the School of Arts and Design, in the art history and philosophy of art classes, I understood better about the grate past of the arts, which strangely was no longer seen, when arriving in the modern and avant-garde periods, as in every art schools, were tried at all costs to inject huge doses of relativization of beauty. However, despite being young and with few true convictions, I did not buy this speech and reaffirmed my position that there are arts higher than others and that sublime beauty is not related to personal taste. After years in digital design work, I was once again impacted by art, but it wouldn't be in a positive way like I was in school, but mainly because of the sadness when seeing galleries, biennials and exhibitions full of supposed arts without talent, technique and lofty purpose. Where we simply see three types of elements, they are Decoration Pieces, sometimes pleasant, but still just an object whose objective is to match the sofa, the second element is Puerile Expressionism, loaded with questionable ideologies and the third, still more depressing, the Creative Nonsense, charged with flattering the ego of gallery owners and art critics, elevating them to levels above the common man by being able to understand the depth of garbage bags scattered in a room, bananas hanging on a wall or a woman screaming aimlessly in some empty place. Where are the surprising techniques of a Rembrandt or a Rubens? Where are the revealing stories that shape character or add to the viewer's life? Certainly they still exist and are produced by contemporary artists, but they are certainly lost and undervalued in a sea infested with modern art, which has long been build in the imagination of the average citizen. So I decided to return to the study of drawing and finally learn oil painting, listening to the call and moved by indignation at the state of things in this world. I seek in my paintings, in a way too ambitious, to restore what I understand by classical art.