The altarpiece is one of the most self-defining genres of Spanish art, a space of alliance and creative fusion, a rehearsal workshop and new proposals, as well as a communication stage.

This artistic set, where Enrique Jiménez Carrero’s paintings are integrated in an intimate relationship with the frame and with Misterpiro’s fictitious architecture, is a collaborative example of that plastic symbiosis, which also offers the viewer a conceptual immersion in its scenes through augmented reality.

The consolidated technical trajectory and personal imaginary of a painter come together with the boundless and coloristic freshness of another to, through experimentation, give birth to a set that assembles traditional and avant-garde characteristics. A stylistic passage where the background’s abstraction and synthesis anarchism take the role of liturgical furnishing to the testamentary scenes, as well as of the life of Jesus.

The argumentative development starts with Adam abandoning paradise, moving along a path that goes from the sin of the first biblical man, going through the Divine conception, Birth and death, until it finally reaches, through Mercy, into the exemplariness and purity of the Virgin Mary and her Son. A journey from condemnation till salvation, with scenes set in everyday and familiar spaces filled with symbolism.

Piro’s varied and fluid chromatism contrasts with Carrero’s velvet-textured color red that embodies passion, love, blood and life as iconographic concepts in each of the scenes. A chronological tale that traces trails that move from reality to appearance, truth and illusion, space and time, tangible and sensitive, and between classicism and innovation.

In conclusion, “Altarpiece” by Jiménez Carrero & Misterpiro has arrived to complete the tradition of altar art in the city of Plasencia, which boasts a very prominent set of art pieces dealing with genres that refer to the History of Art. It is an adaptation of the changing aesthetic that, without abandoning the reference of the great art masters, walks towards a more modern world to create its own original figurative discourse.

Fernando Talaván Morín