The Valencian painter Francisco Sanchis Cortés has an enviable genetic line that leads him in pursuit of the fine arts. A line that genetically connects the best manners of Hispanic roots, heir to the demonic fictional painting of the Pinazo, Emilio Sala, Mongrell and Sorolla. A narrative line in which he tells a lot about the story of the matter and his ability to move. A line in which knowing how to paint is essentially valued, precisely to characterize the motifs, with humanity in the gestures of the characters and above all with an outcrop of a romantic character.

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Since his youth, the artist has shown excellent ways, in which he embodies that exquisite impressionism in subtleties, without losing the substantial accent of the image. The long brushstrokes in the clothes or in the hair, in which the illuminations shine with silky or burnished iridescences, the subtleties in the incarnations to give morphology to the refinements of the feminine skins (fundamental motif in his canvases) with a touch of lyrical breath , the configuration with a scenic purpose of the surroundings, a vivid clarity, in which the Mediterranean luminosity and freshness emerges.

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But nevertheless, perhaps even more interesting is the intention of the gestures, the sensitivity of attitudes, of the gazes, of the ways in intimacy, the gestures of complicity, in a story that in its pictorial entity has a lot of romanticism and sentimental.

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Antonio Gascó Sidro

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Doctor in Art History from the University of Valencia, and academic at the Royal Academies of San Fernando, in Madrid, and San Carlos, in Valencia. He Writer and Art Critic.

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