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Presentation > Sculpture
      The sculpture of Lucas Mayor clearly has a set of characteristics that differentiate it clear and of other artists. In main lines, it is connected in the escultórica tradition of the century XIX, that one that is opened to the new sensitivities, such as the maternity or the exaltación of the labor world. Even with other more recent and renovadoras currents than they still on place the equality woman, in all the aspects, with the man.
 
       If it is certain that the childhood is the mother country of the man, the case of Lucas this supposition becomes total certainty. From small it saw and it lived the world on the manual work, and very specially, the one of the mining. Its sensitivity went inclining of the side of weakest, of the worker. Throughout the years this sensitivity went opening and expanding in other directions, aspects related to the marine fishing, the heavy industry and the farming. Along with the subject of the maternity, these are the pillars on which the thickness of its creation is based.

        Its work calls the attention, in the first place, by its solidity. Their pieces are, in architectonic terms, constructed well, with the feet in the ground, following the principles of the logic and the physics.
         Even in that the protagonist is the woman, Lucas equips with solidity the work. And not only in the material part, of the support, but to the form in which it distributes, visually, the weights and the volumes. From close, or distant spot, the work works, well is structured, is harmonic.

         Independently of the size or the importance of the work, the artist, before initiating the work, thinks well which is its goal, until where wants to arrive. At no moment something different from which has left him had projected. For that reason its work transmits a great sensation of security.
         A tendency can be seen in its work the abstraction when the sculpture is it jeopardize. When the artist means something reduces the elements to the minimum, looking for that the spectator does not lose itself in the turns of the clothes, the face or any other part of the body. Let us return the eyes to the miners, teachers and workers of its monuments in places public. Nevertheless, their familiar pictures, their naked ones, are more traditional as far as forms. More compact, with greater delight by the detail and the anatomy. In a word, more realistic. Retrato
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