The Flat Mountain. The Enchanted Region by José María Yagüe starts the experimental project called “The Seedbed of Art” that arise as an initiative of the Esteban Vicente Museum of Contemporary Art with two aims:

The first one is to publish the work of young artists related to Segovia and its province, who are recognized by grants, awards and shows in galleries, but they have not reached maturity and are not known to the general public.

The second objective is to show not only a group of works finished but also the process and stages that lead to the final work. For this aim we show several materials from the studio, sketches,  mockups, field notebooks,… what we can called the “artist kitchen”.

We have want to present these intentions through a very powerful resource visually and that transforms the place, a greenhouse. Built with plastic and steel rods introduce in the Museum fragility and provisional references, the same conditions in which the work of these artists is developed. But, at the same time, the greenhouse speaks to us about the care and protection that they need to give their best results and the ones we want the museum to offer you.

Through this program fulfils one of the fundamental aims of the Esteban Vicente Museum of Contemporary Art, which is to deal with its closest artistic reality.

To this singular project we have the support of Diputación Provincial de Segovia, that in following four years, will sponsor this initiative that we inaugurated with José María Yagüe: Cuéllar, 1973.

The Flat Mountain. The Enchanted Region by José María Yagüe

His work is difficult to classify. Excellent artist. It is one of those that makes ones like the painting. He has the ability of the old masters and is interested in the visionary landscapes of some of them as El Bosco or Brueghel. He is passionate for the dramatic landscape of romantics and their wild nature. He has control over the drawing, he is capable to give expressive force to a tree or give character to an insect. He likes the coldness of the contemporary architecture and their devastating and cinematographic desolation. But Yagüe is, at the same time, as a scenographer or a sculptor, from his hands grown imaginary fauna built with animal pieces, or miniatures of utopic buildings own or foreign. And even a small sailboat.

We must to accept that sometimes we feel that the thing that make the life magic, and in consequence the world, it has vanished. But seems that is and individual and private feel but, really, is a general sensation in our age. The fantasy, in Yagüe´s work, has the power of reinterpret the world and to re-enchant the world.

Maybe this is the mission of the contemporary art, more than create beauty, help to us to recognise it around us. For this we show the collections of samples found in nature, that acquire artistic character as a whole and in relation to the works. Or the drawings of stuffed specimens from the Museum of Natural Sciences. Yagüe creates new myths.

This project is called “The Seedbed of Art” and is a laboratory of ideas and forms, as well. We can see a work in progress, in its variants and attempts. The notebooks have a highlight paper. In these notebooks the artist outlines his ideas meticulously, makes sketches, or write down an intuition that awaits development. Tables and walls are cover of several works that configured a personal universe and visually attractive.

A graduate in Fine Arts from the University of Salamanca, he also studied architecture at the ETSA of the University of Valladolid. Now, he lives in Íscar, a village in the centre of Tierra de Pinares (Land of Pinewoods). As an alchemist in his cave, far away from the economical centres and the artistic institutions.

His career has important goals as the Beca Generación 2008 of Caja Madrid. He has participated in several group exhibitions and solo shows in Adora Calvo Gallery and in Dublin. Now his work can be saw in a Museum. Not because it has reached the peak of any of its artistic languages, but because it is exemplary of development of the creative imagination and a stimulus of our own imagination. And remember, as the poet said, that everything that is real before had to be imagined. That is, we have to imagine the world and to change ourselves.

José María Parreño



Cuaderno 014, 2014

Mixta sobre papel, 21 x 29,7 cm (abierto)

Maqueta de construcción y refugio, 2009

Ramas, alambre, madera y escayola, 40 x 35 x 50 cm

Rosa castellana, 2010-2018

Técnica mixta sobre papel, 21 x 29,7 cm

Pyrrhcoris apterus (Dibujos para un museo inexistente), 2016

Acuarela, tinta y acrílico sobre papel, 21 x 29,7 cm

Fragmento de los cazadores en la nieve con central nuclear, 2010

[Panoramas] (detalle)

Acrílico y técnica mixta sobre papel negro, 23,5 x 100 cm