Ignacio Ipiña

Criticism and comments

“Ignacio Ipiña, with over fifty years of experience is as good as unknown painter.
Ipiña however usually appears frequently in various places in our city landscape, industry, field or the sea.
He looks after his easel and large canvases with stained colored work clothes. The flush brim of his hat fabric a look that goes beyond space and natural environments is perceived.
The act of painting is produced with gestures of a hunter animal as soon collected about himself as projected on the canvas with ropes tied to the easel and to the earth to withstand the onslaught of the winds of the interior and nature “.

Agustín Ibarrola


“Ignacio Ipiña dialogues with color, interpreting forms from their particular creative vantage point, leave a personal hunch full of surprising perspectives. The light in the hands of Ipiña qualifies environmental hint, which accommodates we can foresee beyond accurate strokes … I am certain that this afternoon, from the other side of the hours, hand of Ignacio, Unamuno tour the exhibition with us. From the emotional ritual that art promotes, we can hear their faint voices, if we are able to let ourselves go silently through the beautiful Bilbao’s corners or through these streets that trap us in his relentless embrace of stone. ”

José Manuel Ferreira “El Adelanto de Salamanca”


“It is always rewarding, especially in a cultural world, discovering the presence of a great artist. Unfortunately now deceased, he dedicated his life to paint a living diary of daily events.
Everything is intensity in the work of Ipiña. But also contrasts of light and color, harmony, firmness and certain romanticism, not nostalgia. … And all this from a very gestural, spontaneous, fast and secure stroke painting. And it is far from the obsolete baroque, Ipiña opts for simplicity and firmness of a painting full of intensity, full of suggestion and full of personality. In short, painting to see, hear, smell, taste and touch with the five senses. You will not regret it. ”

José A. Montero “La Gaceta de Salamanca”


“Dense brushwork, generous, vigorous colouring, daring to the limit of the nuances … composition calm and disturbing at the same time, while legitimizing an image that seems frozen in time, which might be possible to deduce that the picture was painted in another time, when the truth is that it belongs to the most recent times.
Painting consummated, made passionate love impulse, in a sufficient enough format so it doesn’t overflow the momentum. ”

Alfonso C. Saiz Valdivielso Real Academia de Bellas Artes de San Fernando


“Ipiña is influenced by the soil, climate, light, intimate, that does not flatter as the Mediterranean colourism paint which is a blinding flash of light.
Yes. Ignacio Ipiña let all the goodness and beauty of these lands Cantabrian with strong colors. Plays an important role in this work the constructivism and the atmosphere surrounding these landscapes and seascapes of unquestionable personality.
Abstracts, but synthesizing forms with architectural sense in the composition. In this sample coexists with Basque landscape, altoaragonés. There is the Castillo de Loarre, Mallos Aguero, the Huesca landscape.
His palette remains the same. Green, blue, gray, dark brown. With this palette plays a chromatic symphony, giving gravity and deep nostalgia to this painting that aims sublime nature. ”

Félix Ferrer Gimeno “Nueva España”


“Ipiña treats these landscapes peculiarly, causing it matter composing is often overlap mere representation of the issues, or it try to it in any case outstanding strength. The colour is important, but under the forcefulness with which it is applied. The sky is rarefied, or substantial valley, by the very arrangement pushes the dough facing each painting.
And as the colour reaches its appeal through matter, dense impasto, is a merit of color, rather than the perspective, the undeniable depth of these canvas. We must insist on the power allocated to paint stains speaking of the geometric composition, it seems that it came imposed by the particular role, but balanced, of those. The making is the most interesting of these paintings by Ignacio Ipiña.”

Ignacio Torrijos “El Heraldo de Aragón” _____________________________________________________________________________________________

“Ignacio Ipiña, with over fifty years of experience is as good as unknown painter.
Ipiña however usually appears frequently in various places in our city landscape, industry, field or the sea.
He looks after his easel and large canvases with stained colored work clothes. The flush brim of his hat fabric a look that goes beyond space and natural environments is perceived.
The act of painting is produced with gestures of a hunter animal as soon collected about himself as projected on the canvas with ropes tied to the easel and to the earth to withstand the onslaught of the winds of the interior and nature “.

Agustín Ibarrola


“Ignacio Ipiña dialogues with color, interpreting forms from their particular creative vantage point, leave a personal hunch full of surprising perspectives. The light in the hands of Ipiña qualifies environmental hint, which accommodates we can foresee beyond accurate strokes … I am certain that this afternoon, from the other side of the hours, hand of Ignacio, Unamuno tour the exhibition with us. From the emotional ritual that art promotes, we can hear their faint voices, if we are able to let ourselves go silently through the beautiful Bilbao’s corners or through these streets that trap us in his relentless embrace of stone. ”

José Manuel Ferreira “El Adelanto de Salamanca”


“It is always rewarding, especially in a cultural world, discovering the presence of a great artist. Unfortunately now deceased, he dedicated his life to paint a living diary of daily events.
Everything is intensity in the work of Ipiña. But also contrasts of light and color, harmony, firmness and certain romanticism, not nostalgia. … And all this from a very gestural, spontaneous, fast and secure stroke painting. And it is far from the obsolete baroque, Ipiña opts for simplicity and firmness of a painting full of intensity, full of suggestion and full of personality. In short, painting to see, hear, smell, taste and touch with the five senses. You will not regret it. ”

José A. Montero “La Gaceta de Salamanca”


“Dense brushwork, generous, vigorous colouring, daring to the limit of the nuances … composition calm and disturbing at the same time, while legitimizing an image that seems frozen in time, which might be possible to deduce that the picture was painted in another time, when the truth is that it belongs to the most recent times.
Painting consummated, made passionate love impulse, in a sufficient enough format so it doesn’t overflow the momentum. ”

Alfonso C. Saiz Valdivielso Real Academia de Bellas Artes de San Fernando


“Ipiña is influenced by the soil, climate, light, intimate, that does not flatter as the Mediterranean colourism paint which is a blinding flash of light.
Yes. Ignacio Ipiña let all the goodness and beauty of these lands Cantabrian with strong colors. Plays an important role in this work the constructivism and the atmosphere surrounding these landscapes and seascapes of unquestionable personality.
Abstracts, but synthesizing forms with architectural sense in the composition. In this sample coexists with Basque landscape, altoaragonés. There is the Castillo de Loarre, Mallos Aguero, the Huesca landscape.
His palette remains the same. Green, blue, gray, dark brown. With this palette plays a chromatic symphony, giving gravity and deep nostalgia to this painting that aims sublime nature. ”

Félix Ferrer Gimeno “Nueva España”


“Ipiña treats these landscapes peculiarly, causing it matter composing is often overlap mere representation of the issues, or it try to it in any case outstanding strength. The colour is important, but under the forcefulness with which it is applied. The sky is rarefied, or substantial valley, by the very arrangement pushes the dough facing each painting.
And as the colour reaches its appeal through matter, dense impasto, is a merit of color, rather than the perspective, the undeniable depth of these canvas. We must insist on the power allocated to paint stains speaking of the geometric composition, it seems that it came imposed by the particular role, but balanced, of those. The making is the most interesting of these paintings by Ignacio Ipiña.”

Ignacio Torrijos “El Heraldo de Aragón” _____________________________________________________________________________________________