Carlos Nadal debuted as an exhibitor shortly after leaving the School of Fine Arts in 1944. If his painting spoke to the teaching received from his teachers, the young novice displayed an inquisitiveness translated into the fluttering by various less-scholastic local artists. But above all one could sense in him a painter with a wealth of clear potential. The canvases focus on Parisian and Belgium cityscapes as a way to round out his identification and strengthen his foundation; the natural elegance, luminous transparency and rich nuances help, as they helped the teachers from whose fountain he drank. A lack of contrasts, constant grey, a wealth of delicacies, he pervades the palette with all his expressiveness, his joy and optimism. And this is where Nadal gives proof of his status as a painter, if he were not truly an artist the repeated taste he gives us wouldn’t be of fragrant honey but rather a catalogue of names that makes no sense. Because he is a painter, his exposition is about painting, good painting, universal in the realm of the limitless spirit even while being only a direct transplantation of a climate different than ours, geographically speaking.
Diario de Barcelona (Barcelona – 1949)