<p>Alvar pays homage to two of his favorite artists in De Piero a Picasso. Early Renaissance Italian painter Piero della Francesca and twentieth-century Modern artist Pablo Picasso frequently appear as sources of inspiration in Alvar’s homage works.<br><br>Piero, nowadays celebrated as an artist, was regarded as a mathematician and geometer to his contemporaries in the fifteenth century. Alvar recognizes Piero’s advanced knowledge of perspective and color, his geometric orderliness, and skill in pictorial construction by including a reference to Piero’s History of the True Cross in the lower left corner. The sequence of frescoes painted by Piero circa 1451-1466 is considered an early Renaissance masterpiece. <br><br>Creative muses in the center of the painting form a symbolic connection between Piero and Picasso, another artist from which Alvar receives continuing inspiration. A muse upholds a recreation of Picasso’s 1901 painting Mother and Child, which abuts additional paintings Harlequin (1915) and Girl Before a Mirror (1932).<br><br>Additional drawings of fragments of works of both artists surround the painting. Alvar pairs the two artists in order to compare and contrast their aesthetic identities, but he also puts them together in the work to highlight innovative, profound personalities that exist in the history of art.<br><br> </p>
<p>In Entorns, Alvar explores one of his favorite themes: the passage of time. This reflective composition offers insight into the process of inspiration and creation, and serves as a playful continuation on one of his previous artworks. An identical figure to the one depicted in his earlier Entorns II painting leans on a console. Whereas Entorns II focused on the great artists that motivated Alvar and shows the figure contemplating a still-life as a gesture of creative inspiration, in this Entorns the still-life has strategically been replaced with a computer. While the same fruit still-life can still be seen just above the figure’s head, Alvar suggests that the progression of time also affects sources of artistic inspiration. A painting on the wall of a muse holding a clock affirms this change from tangible to technological. Despite this message Alvar does not suggest that traditional forms of inspiration are extinct, as the still-life and an open door revealing a tree in nature remind viewers that motivation may be found anywhere.</p>
<p>Alvar pays homage to artists who have influenced him over the course of his career. A clock in the upper left corner hangs above a Mediterranean town, signifying the passing of time in Alvar’s life and career. In the center of the composition Alvar includes verbal and visual reference to three important artists- Piero della Francesca, Balthus, and Vermeer, all of whom Alvar frequently pays tribute in his work. Their placement against a muse with exposed breasts symbolizes these artists’ paintings nurture Alvar’s creativity and inspiration. <br><br> </p>
<p>Alvar pays homage to the places and people that influence his art in Naturaleza Muerta con Palomas. The Mediterranean town in the background and checkered tablecloth symbolize Alvar’s northern Spanish homeland and culture. Two doves symbolizing peace sit atop a still life of fruit signifying prosperity. By placing these symbols of plenitude within a Mediterranean landscape Alvar communicates that this area literally and figuratively nourishes him physically and artistically. Alvar also recognizes another artist who greatly impacted his work, the twentieth-century Expressionist painter Paul Klee, who also created a still life titled Still Life with Doves in 1931. Alvar credits Klee’s use of color and composition as a major source of artistic inspiration.</p>
<p>Blau, Rosa, Cubista, which translates to "Blue, Rose, Cubism" refers to the large capacity and creativity of the artistic genius of Pablo Picasso. These three words refer to a few of the different artistic periods of Picasso’s career. In the top center, a work of Picasso's Blue Period Femme à l'éventail (Lady with a Fan) (Paris, 1905) is shown. In the center is the Gran nu debout of the Rose Period, painted in Gósol 1906. Next to the Rose Period work is one of Picasso’s Cubist works painted in 1913. In order to enhance praise of Picasso’s artistic dexterity, Alvar creates<br>his own piece to emphasize the red and blue colors within the scene, as if to layer importance<br>of these colors and of these experimental time periods. Alvar’s figures also contribute to his<br>homage. The figure on left drawn in pencil is a figure encompasses human creativity and the desire to make art. Alvar’s figures are surrounded by nature, which symbolizes the creative nature of the great Picasso.<br> </p>
<p>While technology unites us, it may also divide. In Café Mobil Alvar reflects on the negative influence communication technology imparts on human interaction. The café, a place traditionally known to be conducive to discussion, instead hosts three people all in a state of disconnect from one another. Rather than enjoying the company, the café, or the landscape, they focus on their cellphones and computers. Alvar includes his painting “The Girl Looking” behind them on the wall and parallel to the landscape resembling Empordà, where Alvar was inspired to create this image while observing the people there.</p>
<br>Alvar continues his homage to his favorite artists in Homage to the Masters. The clock, our limited time remaining in this life, hangs on the wall behind the female figure, signifying creation. She holds the Vermeer work symbolizing the artist’s creation process. A dove in the top right corner represents peace while the bowl of fruit represents nature’s bounty.<br><br>Alvar draws his inspiration from these three masters – <br>Balthus, Vermeer & Piero Della Francesca.<br>
<p>Prior to becoming King of Israel, the young David was known for his talent as a harpist. According to 1 Samuel 16:14-23, David was called upon to play his harp for an ailing King Saul, who was suffering from anger fits, nightmares, and anxiety. When David played his harp Saul felt healed by the soothing sounds. So thankful for his service, Saul made David his armorbearer and requested he remain with him to play the harp whenever his illnesses returned.</p>