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Gorgeous and beguiling Spanish artist Marisa Rivera Navarro lives in Madrid but makes the kind of art that appeals to the vibrant LA palette as practiced by, say, John August Swanson--and she maintains many New World friendships that ensure her work is also known here.  On the left, Plaza Campo Del Principe reminds me of a Roman landscape, the way they piled the scene up to show it all, and it also reminds me of one of my favorite Picasso's, one that was exhibited here a dozen years ago, a visit to an artists studio, where you experience the whole thing, the street, walking up the stairs, and then in the studio itself. The way the landscape is divided into thirds, both conventionally and unconventionally, and the way the roof lines add to the excitement of the painting without making it overly emotional and while yet contributing to balance. Her use of yellow in just the right ratio--any more and it would dominate the painting, she used the highest amount that you could get away with...that's a key principle in Itten's book on color, how little yellow you need to create harmony, and I'm sure she did it instinctively. On the right a little dibujo (a sketch, or more literally, a "toe drawing") inspired by the Vox Vulgaris and likely some other medieval codices.  I often encounter that kind of spiritual echo in her work, an echo from a torn illuminated manuscript page or a neglected Roman mural, which is why I mention LA's Swanson, whose work is often seen in the cathedral here; Swanson is less kinetic but elaborately colored on and just off the primaries as is Navarro's.  Sometimes I exchange pleasantries with Navarro on Facebook over my occasional (and occasionally baroque) "Caro Diario" column or one of her own works such as these.