Every day is the first day in the studio of Spaniard Miguel Peidro, whose humbling process and inspiration result in magnetic natural beauty.
Viewing the paintings of Spanish artist Miguel Peidro is almost like travelling back in time to the moment one falls in love with art for the first time. Simple in subject and nearly photographic in their naturalism, works such as “Les Baronnies, French Pyrenees” leave audiences in sheer awe of what the human hand can achieve in paint. Working out of his studio in Spain, Peidro’s creative process is as humble as they come and touches on the core of what many artists seek to achieve in their pictures. “My creative process has to do with my love of nature,” he says. “I paint what moves me, what gives me sensations. My intent in my paintings is to convey emotions, nostalgias, yearnings; I want it to be that, when a viewer observes my work, he or she remembers pleasant moments. My paintings are not made for thinking, they’re made for feeling!”

Miguel Peidro, “Autumn in the Pyrenees,” oil on canvas, (c) Miguel Peidro, 2015

From his earliest memories, Peidro recalls always having crayons in his hands but never predicted his journey would lead him to become a successful painter. Be that as it may, the man couldn’t be happier with his current state. He suggests, “My goals in art have largely been met. I’m happy. Every day I go to my studio as if it was the first day, I do my job and I’m lucky to be able to look at what I like.” These sentiments translate well into his pictures; they each have a positive energy that is infectious and captivating. Continuing, he writes, “The struggle of the artist is to convey what he or she feels, this is the language of expression, and to get you to feel happy.”

Miguel Peidro, “Peaks of Europe,” oil on canvas, (c) Miguel Peidro, 2015

Miguel Peidro, “Snow in Autumn,” oil on canvas, (c) Miguel Peidro, 2015

A host of enjoyable feelings surface in “The Catalan Pyrenees in Autumn,” which bursts with color and natural beauty. The viewers find themselves along a well-trodden stone road deep within the Pyrenees Range at the height of fall. A rich saturated orange and red from the leaves of maple trees give the painting distinction, even when viewed at great distance. The road projects into the distance, curving out of sight towards the right edge of the canvas. A thick fog rolls through the peaks of distant mountains. The eye’s journey through the composition is splendid, giving one the sense of the deep recessive space and eager to experience what lies further down the path.

Miguel Peidro, “The Catalan Pyrenees in Autumn,” oil on canvas, (c) Miguel Peidro, 2015

Peidro has appeared to master his technique, and feelings, which will only continue to carry the artist to higher recognition. He recalls just five years ago only exhibiting in galleries in Spain, which has since grown to include the United States, Russia, England, and Japan today. Recently, Peidro’s work received wide acclaim at the International Art Fair and the Art Revolution Taipei in Taiwan, both of which the artist plans to enter in 2016.
Miguel Peidro is represented by the following galleries:

R Alexander Fine Art – Atlanta, GA http://www.ralexanderfineart.com
Thornwood Gallery – Houston, TX http://www.thornwoodgallery.com/g/GalleryHome/Artists/129
Key West Gallery – Key West, FL http://keywestartgalleries.com
Greenberg Fine Art – Santa Fe, NM http://greenbergfineart.com
Gallery Elite – Carmel, CA http://www.galleryelite.net
Sheldon Fine Art – Newport, RI http://www.sheldonfineart.com/index.html

This article was featured in Fine Art Today, a weekly e-newsletter from Fine Art Connoisseur magazine. To start receiving Fine Art Today for freeclick here.

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Andrew Webster is the former Editor of Fine Art Today and worked as an editorial and creative marketing assistant for Streamline Publishing. Andrew graduated from The University of North Carolina at Asheville with a B.A. in Art History and Ceramics. He then moved on to the University of Oregon, where he completed an M.A. in Art History. Studying under scholar Kathleen Nicholson, he completed a thesis project that investigated the peculiar practice of embedded self-portraiture within Christian imagery during the 15th and early 16th centuries in Italy.


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