Acrylic wet on wet…

“Dark Blue Jazz” acrylic on canvas 60x60cm

Acrylics are a great medium. They are clean, they are strong, they create a mood and provide for brilliance as well as texture. Using a wet on wet technique with acrylics creates a depth of colour that for me shapes the movement and the intensity that I want to transmit, especially in my “Jazz Art” pieces.

One important thing to keep in mind is that you have to work fast for acrylics dry very, very fast. Working with acrylics is completely different from working with oils, pastels and watercolours. But, the same techniques can be applied using both mediums…acrylics and oils…if you work them according to their properties. So, the one important thing to keep in mind is that you must work fast to get the wet on wet effect with acrylics. The rest is up to you.

I used the acrylic wet on wet technique on the painting above. I first applied several layers of colour to the canvas to create a background beneath the background. Although it might seem useless, it does give the canvas a different texture and the colours laid upon other colours acquire a different visual quality than when applied on a white canvas. Laying on thick paint, it remained wet a triffle longer and I took advantage of that to then apply different colours on the wet ones. After it began to dry I added the final touches and the black lines in some places to create the figurative abstraction that I was seeking in the composition.

“Pink Watermelon Conga Man” acrylic on canvas, 30x50cm

On this one, “Pink Watermelon Conga Man”, tipping my hat to Mongo Santamaria’s Latin Jazz classic “Watermelon Man”, I used the same technique. Although it seems to have a pink background, it is actually a combination of several colours, including metallic acrylic reds and lilacs with the greens mixed in while still wet. The colours combined created new colours of their own and as the paint dried, I added the black lines to create the principal character.

Both of these paintings are from my “JaZzArt en Valencia” 2019 collection that I will exhibit here in Valencia very soon. The original expo was scheduled for last week but had to be rescheduled. Most of the other works in the exhibition were done with the same technique of mixing wet paint with wet paint.

The idea was to recreate the spontaneity, the action, movement and even the sounds of the jazz players in the compositions. That is definitely an integral part of Jazz Art. There has to be improvisation and what better way to improvise than mixing wet paint with wet paint, without knowing exactly, what the end results will be…

If you liked what you read/saw, please like, share and follow and leave a comment. It’s always good to start discussions about modern art. It keeps art alive and vibrant. And if you would like to see more of my work, please visit my Instagram @Francisco_Bravo_Cabrera and for more of my 2019 “JaZzArt en Valencia” collection, visit my online galleries at


Omnia Caelum (All is Heaven) My Gallery in Turkey

I started Omnia Caelum Gallery and Studios of Art in Miami Beach, Florida back in 2003. My first professional exhibition, however, was in Istanbul, Turkey. It was a mixed show, together with another European artist. To my delight and surprise, I sold more than half of my paintings. I was surprised because I had never been to Turkey and I was unsure as to whether my style of painting and my subject matter would be accepted in that country. But they loved it and it worked out just fine for me.

Since then, I went on to exhibit in my own Spain, in New York, and in several cities in Florida, to include, of course, Miami, which was my home base at the time. During those years I began coming to Turkey and spending my summers in the Aegean region. Eventually, after much success with private collectors, I decided in 2016, to exhibit publicly again in a gallery in the Aegean city of Izmir.

Now I have transferred some of the work I had stored in Miami since 2003 back to Turkey and have decided to exhibit them in my own little “summer” gallery in the town of Ilica in the Cesme peninsula. Cesme extends far into the Aegean sea and is very close to several Greek islands, where I often travel to and where I have very good clients and where my work resides in private collections.

Resultado de imagen de Greek Islands of the southern Aegean
Ilica is just east of Chios and just west of Izmir

The works I featured in this article are all in private collections in Turkey. In the compositions you can appreciate the intensity of the colours I use to give life to the people that inhabit the inner world of my work. I look forward to painting many new canvases here in this part of the world.

I try to create with colour as would an abstract painter. I see understand and appreciate the meaning, the symbolism and the spirituality of colour and carefully use it to convey my message. All art carries a message, for art has to transmit. Art is a language and a weapon. Not in the negative sense, but a valuable weapon with which to fight against the mediocrity so prevalent in the world today.

Reference my technique, although I may stray into some aspects of abstraction, it is to complement elements within my compositions. I am a naturalist figurative painter. With regard to style, I learn and imitate only the style of nature. Since nature is full of colour, then colour becomes one of the most important aspects within my work.

The view from my studio in Ilica, “Omnia Caelum”, wher all is heaven
“Guitarra y Luna” acrylic on canvas, 60,5 x 90,25 cm

I am from Valencia, Spain. If you would like to see more of my paintings and drawings, please visit my Instagram @Francisco_Bravo_Cabrera and to see my 2019 “JaZzArt en Valencia” collection:


From My Blood-Red Orange: “New York City”

“2008” acrylic on canvas, 54 x 107 cm
In private collection
Where I live there are no ice cream parlours,
no snack bars on the beach,
no fast food on the harbours.
Where I live the food is nasty, hard to eat,
the water tastes like piss,
the fruits smell like sewer rats
that before you bear their teeth.

Where I sleep the air is not conditioned cool,
or warmer during frozen days.
My mattress is a cardboard box,
I'm up as soon as I feel the first of that yellow ball's rays.
My breakfast, in the dumpster on Eighth Avenue and Fifty Seventh Street,
If I can find anything after all my neighbours eat,
'cause they're bigger and they're meaner and they never let me pass,
I guess when I turn ten or twelve I'll get something at last.

Yes, I'm from right here, Manhattan, Midtown,
but I was born in the Bronx,
and when I was just a baby my mother crossed the river
and New York's been my home.
My mom?
Lying in an alley, just west of Ninth and Forty Second Street.
She's been there for a whole day,
can't rouse her from that sleep.
But I don't care, I never knew her well,
she brought me to this island city
where the devil seems to dwell.

I was remembering a song by the Beatles, that Paul wrote and sang that started like this: “Ah, look at all the lonely people, where do they all come from? Where do they all belong?” The song, “Eleanor Rigby”, was released as a double A-side single with “Yellow Submarine,” in August of 1966. Both are from the album Revolver.

The song is about two lonely people, Eleanor, an old woman who exists in a world of her own, population one. Her main purpose in life is nothingness. She “picks up the rice in the church where a wedding has been.” The other is the priest, Father McKenzie, who preaches in an empty church and whose sermons “no one will hear.” Eleanor dies and he buries the old woman. To her funeral, nobody came, just him, seemingly caring little for the lonely people, “he walks from the grave.”

“No one was saved, all the lonely people, where do they all come from, all the lonely people, where do they all belong.” The cycle of life and death among the “lonely people” simply begins again…

What do you think? As an artist, I encourage all others engaged in the creative arts, or not, to get involved. This is our world, this is our problem. I have been focusing on two very serious conditions found in the world today, mainly poverty and the plight of immigrants. I think that if we all do our part, we can begin to change things, even if we have to do it helping only one person at a time. That is one less. It’s worth the effort.

If you agree, please share, comment and hit that like button. Let’s discuss these topics. Whoever said that topics such as politics and religion…or others also considered polemic…should not be discussed was lying. Such topics should be the source of discussions and conversations perpetually on everyone’s agenda. Of course, only through civilised discussions, no fights, no argumentum ad hominem, let us argue only the facts.

You can see my artwork…like the one above…drawings and paintings, on my Instagram, @Francisco_Bravo_Cabrera and my online galleries, featuring my 2019 collection, “JaZzArt en Valencia” at (you can browse, you need not purchase anything)


From My Blood-Red Orange Part 8: Origins of My Jazz Art

Playing with AJA, Coral Gables, Florida 2005

Well…I guess you can call it a late start…I began really getting into Jazz in the late nineteen nineties. Actually in the early nineties I didn’t even know who John Coltrane was, I’m ashamed to admit but it is the truth. I was always a rock and roll lad. I grew up listening to the Beatles and through their songs was how I learned to speak English, mostly.

The group I formed in nineteen ninety nine, which lasted through to two thousand and four, I called AJA (Abstract Jazz Arrangement). We recorded two CD’s ( and there I started developing my version and idea of what Jazz was all about. (I left the link so, if you like, you can get an idea from the samples offere

Then by 2003, Jazz changed for me. It became a language, a way to express my art, not just music. I studied Jazz and discovered the definition that most of the originators agreed upon was that Jazz was the performer’s music, that it had to have improvisation, rhythm and that the player (soloist) would create as he played, therefore, it had to have spontaneity. That definition is what I use to create my artwork.

“Expressing Blue” 2003, acrylic on canvas (private collection)

Of course, I am inclined to include the players as well in my paintings and drawings. I paint (and draw) them as I imagine them, playing the music that is deep in their soul and magically letting those musical phrases travel from brain to fingers to instrument. I try to capture the expression of the sound and the expression of the inner world of the artist as they join with the others onstage and then separate into their own inner world. And since Jazz is also dance, I have my dancers participate in the temporary world created as the music travels through time creating itself and destructing itself, improvising, succumbing to the rhythm, and then creating it.

“Los Tres Musicos” 2003, oil on canvas (private collection)

Jazz is a world like none other. It resembles life but life orchestrated and rehearsed in order for it to be artistic for even though Jazz is spontaneous and improvisational, it is still art and raw emotion is not art.

Please feel free to comment and like and share, I will greatly appreciate it. Also you can see many more of my paintings and drawings in my Instagream @Francisco_Bravo_Cabrera AND if you would like to see my 2019 collection, JaZzArt en Valencia (my city in Spain), please visit…you do not have to buy anything…my online gallery at