About

My meeting with the master’s work and his person, around my twenty-six, twenty-seven years, conditioned my aesthetics and my expression. Thanks to him, I understood that the importance of technique lies in adapting it to the contemporary spirit taking benefit of its plastic value.

At one point in his career, initially being a modern-industrial painter but, due to his cultural training, always an admirer of classical painting, fundamentally of the European figurative tradition—Raffaello, Tiziano, Tintoretto, all of the canon—, Vlady backs down, aware of his own technical insufficiency, and he undertakes the study and the practice of the millenary techniques until mastered the medium and the craft, a command evident in his later work, both easel and monumental painting. Thereby, in the mid-20th century, Vlady—already immigrated in Mexico—opposed the reduction of the craft of highest school born of painting ancient caused by the massive use of industrial products, which not only simplified but also replaced the intimate knowledge of materials and the procedures that have given permanence and unique values to pictorial expression over time.

Vlady devoted his efforts to the research and study of the applications of thick linseed oil, as well as of other substances mixed with natural pigments, to achieve the infinite sensible possibilities of the matter and its coherent and methodical use.