Licenciado en Bellas Artes por la Universidad de Salamanca, estudió y trabajó en la Art Students League y la National Academy of Design de la ciudad de Nueva York. Actualmente trabaja en la Escuela Superior de Dibujo Profesional de Madrid.
There is an infinite range of expressive possibilities in tonal drawing. Whether one gives over to the pure looking, as in a Cunningham piece of drapery or a Karnes sunbeam, or one goes after the naturalism of the subject, as in Diego Catalan Amilivia’s untitled, stunning graphite portrait, what matters most in a tonal drawing is seeing in adjacent values, rather than in lines, and melting of the boundaries that contain things. As Wölfflin so beautifully wrote, “As soon as the depreciation of line as boundary takes place, painterly possibilities set in. Then it is as if at all points everything is enlivened by a mysterious movement …. Forms begin to play; lights and shadows become an independent element, they seek and hold each other from height to height, from depth to depth; the whole takes on the semblance of a movement ceaselessly emanating, never ending.
The Emergence of Tonal Drawing by Ephraim Rubenstein (American artist, 2006).
Fräulein (2008). Grafito sobre papel.