... The landscape of the fields is practically the absolute protagonist of his canvases. Without fear of the use of color ... His painting, the different ways of approaching the subjects he has chosen, the softness or the nerve that shows us with his stroke, the classical or daring representation of the world that It surrounds us, they are the result of the sensibility of this artist, his moods, his technical domination, but especially, the need to explain himself through his work, to show us These sensations that burst it into a skin flower. Therefore, it is when we, the spectators, look at it, when he really finishes his painting process.

M. Teresa Salat i Noguera
Professor of History

The landscapes of Rufes make you feel the smell of the herbs and its merit is to make us discover the undoubted beauty of our simple subways, which it transforms sublime.

Each picture is an intimate illness that is resolved in an internal outbreak when it is finished, each work is a struggle against the difficulty of capturing light, instantaneously, the fugacity of the tones. The visitor guesses the time, the month of the year, the time of day, and questions how the intangible fog can be played without hiding the same brushstroke. The landscape of Rufes is a pure landscape, without human figures, vacated by the animal world, all of it air and countryside, a landscape that has become a color note, light caught, disobedient brushwork, a reflection of inner concern. It is definitely a celebration for our eyes.

Josep M Bosch
Historian and astronomer

He has lived, reviewed, researched, felt and walked the landscape that has become an understanding and understanding of the eyes and eyes of Francesc Rufes.

From this a constant reference to the open fields that surround it and as well as the green and yellow wheat, shades of soil that outline a chromatic definition that includes a palette and range of winter fog and summer heat , intense and dry that of the spirit communicate and connect with horizons and celajes where painter and nature are confused and dissolved.

However speaking with it, the landscape has been transformed into expression. Now by the breeze, now by the silence, night, and the ancient crack of the earth the painter extracts materials and textures, and supports and subjects the painting, from the silence of the dark to the brightness that defines shadows And warm, warm lights of a warm Mediterranean inland.

Josep Miquel Garcia
Art critic

They say film directors always watch through a camera and see life through a goal and frame the scenes and look at things that we, much later, will see on screen. Maybe it's true, I do not know. What I know is that painters look in a special, strange and unique way and they see details that we do not see. They look at very rare things, such as potholes that leave rain on a dirt road, in the small pool of water where the clouds shake and the wind shakes chills.

They also paint canes crushed by the wind or the storm last night and paint the fog that is nothing more than clouds at the back of the ground and the cold winter mornings or the coolness of the summer mornings. Green walls, pedrots, isolated trees, bushes, grooves, bushes, bushes, streams and streams that will not return to fish. But they paint it as if they were idyllic gardens, and we believe it. According to the critics this is the realistic, figurative painting, but it is not true, it is not realistic. These landscapes, in fact, do not exist, and even though they tell us the same painters, that is what is and there, it is not true, they are not there, we will not find them. In fact, they are only in their eyes, in their spirit. And it is to this look that we throw when we look at their paintings. Oh yes, Francesc?

Santiago Serrano
Galerista