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ÁNGEL de la CALLE, Catálogo de las VII Jornadas Internacionales de Cómic. Avilés, Spain, 2002.

"In a recent study published in North America about the entire history of JIM WARREN's company one of the comics by FERNANDO FERNANDEZ, Rendez Vous, published in #35 of Vampirella USA, was selected as one of the top 20 stories published by the magazines of this New York publisher in all its history. A remarkable merit taking into account that among his page mates there were names like BERNIE WRIGTSON, AL WILLIAMSON, ALEX TOTH, JEFF JONES or ARCHIE GOODWIN."

De ZORA y los HIBERNAUTAS, el genial FEDERICO FELLINI comenta a Doménico Porcio en la revista PANORAMA, (4/8/1985),

"...I have great admiration for the arabesque and dreamlike creativity of FERNANDO FERNANDEZ in ZORA."


"His graphic consecration came with ZORA Y LOS HIBERNAUTAS, which shows a graphic level of true mastery in the field of color. He resorts to a wide range of procedures, from pencil to oils, passing by the use of the pen and airbrush, mixing them together significantly in a playful manner.

His narrative schemes, both in ZORA Y LOS HIBERNAUTAS as well as in his other works, are diluted through a poetic background allowing them to occupy the primary expressive plane. Thus we find in FERNANDO FERNANDEZ one of the great innovators of the language of comics."

ROMAN GUBERN, Profesor de la U.A.B. Crítico y Guionista de cine. 1984

"FERNANDO FERNANDEZ whom we admire before his ZORA, now offers us a new reading and a new vision of this necromancer and eternal myth. And he has done "his" version, which still being his and personal as all artistic comic, does not betray Stoker's late romantic spirit. Cinema had already discovered, from the time of MURNAU, that the story of DRACULA can have a fruitful iconic view. Now with the stationary image of the comic (which sometimes ingeniously revolts against such immobility), FERNANDO FERNANDEZ reiterates brilliantly that DRACULA is a universal work capable of being transcribed in all registers and in all media. To read this new DRACULA is not to reread Stoker, but to discover new angles and a new imagery of his famous nightmare."

JAUME FABREGA, Asociación internacional de Críticos de Arte. Girona, Spain, 1990

"Any cartoon fan knows about Fernando Fernández, our most international cartoonist and illustrator. Not only did he win the award for Best Spanish illustrator in 1977, but his works are published and valued by the best magazines in the world, from the legendary Linus to the Artima editorial of France and the British Fleetway.

His work in the United States, on the other hand, has won him the prestigious award of the Warren Publising Company. Fernando Fernández, with his drawings and originals in oil, has raised the comic, already an important art form within mass culture, to the category of highly expressive and creative language. The collectors from around the world treasure his comic books as masterpieces of the genre.

Here, however, a new Fernando Fernández is revealed to us, once leaving behind the brilliant prior stage, as an artist that paints with oils an pastel colors.

Now he doesn't have to be subjected to any argument, nor any narrative structure, nor does he have to illustrate, as a cover artist, the forced subjection to a novel. He can paint freely his female figures in which he captures, archetypically, the most friendly and fanciful aspects: from the suggested nudity to the retro fashion "look" (brimmed hats, sheer dresses, etc). These aspects, however, are served with a surpsrising accumulation of all the teachings of hist past stages: drawing skills, but at the same time evocative chromaticism; some fantastic ramblings, along with an always suggestive verismo."

JAVIER RUBIO, Escritor, Crítico de arte, Director de la sección de arte del Diario ABC. Madrid, Spain, 1991

"Fernando Fernández flees towards the brushstroke, voluntarily avoiding the world of drawing to enter the world of stains, colors and its problems, of the atmosphere of the painting. The woman (girl, young or old) outdoors or indoors, lives in these paintings in hot color ranges and nervous brushstrokes that are like a hymn to color."

RAFAEL KIOGA BERLINER, Sociólogo y Crítico de Arte, Paris, France, 1991

"Beautiful, rich and sumptuous, animated by the life force of its author, is how I feel about the work of Fernando Fernández. On the base of his coherent technical diversity, is found the solid education of the artist who both with oils and pastel or even in the field of drawing, shows a perfect mastery of vast resources employed safely and with sobriety.

Although it is indeed so that Fernando Fernández can address various themes, showing a commendable talent,  it is also true that his mental space, at the level of creation, points predominantly toward the systematic female presence emerging from strong backgronds, ranging from electively grim strokes, and tasteful areas where the atmospheric values ​​loom bearing a palette of intelligently impressionist character.

Two factors of primary importance, underlying the entire trajectory of Fernández, explain the cohesiveness of his work, and that despite the use of various pigments and media: drawing, omnipresent, supporting all his production, and the chromatic freedom, always based on a both ductile and incisive execution.

The female figures, emerging through atmospheres of eminently abstract flavor, reveal the tensioned movement and often moderately tortured line, in an historical articulation with the restless search located between the last phase of the Renaissance and the initial intensity of the Baroque period. Surfacing, incidentally, that diachronic reality, that parameter of a vast temporarity that a Rosso, a Pontorno or a Greco offer significant emergencies.

The woman - constant, vital choice, motivated him a favorite subject - arises in the work of Fernández as an expression of a deep inner need, as a sign of decisive choice, as a symbol and mirror of a creative explosion of subjectively assumed values​​, interpreted and captured.

The artist's work, considered in the exemplary extension of his accomplishments and virtues, analyzed also in the diversity of its complementary facets, manages to offer the viewer the stimulating show of its beauty, of its dense consistency, and a deep ability to suggest a special dialogue dimension, of communicability, and reading poetry."

JOSEP MARIA CADENA, Escritor. Crítico de arte. Director de la sección de arte de El Periódico. Barcelona, Spain, 1992

"... Gifted for figuration, capturing the human body - especially the female harmonies - is not a problem for Fernando Fernández. He is comfortable drawing and painting the material reality, because this allows him to move towards the depiction of feelings, so difficult to express in the grace of a gesture or the warmth of a skin."

MASCARÓ PASARIUS, Historian. Medalla de Oro del Consell Balear. Crítico de arte. Palma de Mallorca, Spain, 1993

Fernando Fernández is one of the most renowned portraitists of the moment, without the slightest shadow of a doubt, he is an exceptional portraitist.

The portrait is a form, lest we forget, that few painters, and even good painters, can performed due to the great difficulties involved not only in the graphical capture of the facial features of the subject, end open to any artist with some preparation, but to capture the mood of the person being portrayed, their psychic disposition, their emotional tension. And at that, Fernando Fernandez is a true master, as can be seen with this exhibition where the woman is the stellar theme and what she thinks, what he feels, is reflected in her face with amazing ease.

JOAN LLOP, Escritor. Crítico de arte. Editor de la revista GAL-ART. Barcelona, Spain, 1995

Of course Fernando Fernández is a portraitist. Logical. And a result of his extraordinary domain of drawing. His portraits with oils are preceded by a series of studies done in pencil. Extraordinary perfect drawings, complete, in which he enjoys himself, going beyond the study, giving up to the creation of a portrait that has lost its analytical function and is offered to us in complete form. And then comes the color, without difficulty. Fernando Fernández has spent decades cultivating color. And obtaining great results from the beginning. They say that the devil knows more for being old than for being the devil. This is not the case of Fernando Fernández; he knows because he is a natural born painter, and in his case seniority is an added value.

Naturally, his portraits are subjected to the servitude of resemblance, obligation that Fernando Fernandez subjects himself to. But also portraits that go beyond the mere image, of mimetic resemblance; he know how to instill that something special that marks them as works with personality, with entity. They are paintings, pictorial works, with the theme of portraiture.

The elegance of his female figures, the highly pictorial environment with which he surrounds his characters, complementary and intensely descriptive environments...

Knowledge and wisdom that have made Fernando Fernández a landmark portraitist in the national artistic panorama.