SABADELL, 1962 Bellosta

Paint everything that moves you and look for nearby themes that fit inside, serenity.

The painter of crespusculars hours, sunrises and Venetian themes has achieved his own style, as well as having an innate talent and facility for painting.


He studied pictorial procedures at the School of Applied Arts of Barcelona (Llotja) and obtained the title of design of Stamping by the School of Fine Arts Massana of Barcelona. He qualifies as almost self-taught. He does not identify with the modern adjective nor with the classic one when he talks about his work, but he likes 19th century art more because it is an art closer to nature and the countryside. He defines himself as a lover of contrasts and nature. He is an easel painter and works from notes and sketches.


by Josep M. Cadena

I personally observe the painting by Carlos Bellosta (Sabadell, 1962) for years and I am pleased to say that the idea that I had about his work is being fulfilled. I have been following him since 1992 when I saw his first exhibition – the first for me and, possibly, the one with which he began to project himself to a wider audience – in Barcelona. Since then and until the beginning of this 21st century in which we find ourselves, I was able to follow and always felt that I was moving with determination and care in the realization of his work. I had the feeling that I was very aware that the artistic career is long and that in it, while continuing to experiment and seek new approaches, I should always progress and overcome, as much as possible, the error. And now, after a few years, the meeting that opens with certainty to new experiences, such as the works he presents to us about Venice, a theme that has been treated by many artists before he did it and that others will also do in the future because it is eternal, but to those who know how to give their personal touch.

Possibly knows other works that describe squares, canals and gondolas in this wonderful city, married to the sea that sustains it and that is always a latent threat to it, but has managed to give it its own touch and, in this sense, the echo of it just as it is pictorially painting, with the latent mystery that always knows how to infuse the landscape between two lights, between those that are born with the new day and that leave – the darkness is also light, although it does not seem so – with the night that is removed .

I had seen the painter Bellosta in training, aware that he had to improve internally to find what he was looking for and what he is, said with simplicity but with awareness that few are those who achieve it fully, the mystery of the constant renewal of life . And now I believe that I can affirm, with the particular joy of seeing him move forward and now already very far on the path he had set out to achieve.

With painting, as with other arts, human beings never stop looking at what is essential and constitutes a constant mystery. Bellosta has done it and continues to do it within Nature, so that the questions never end with the answers, but grow again and have new and increasingly disturbing characteristics. And it is good that this is the case with people who are like the painter we are dealing with now. I think, therefore, that we must look carefully at the artistic works that he now presents, because they are true progress within his constant research on light and the contents of forms.