In his latest paintings, Miguel Branco focuses for the first time on landscapes in reference to the painter Joachim Patinir, considered the first landscape painter in the history of Western art; his views often depict atmospheric or aerial perspective scenes that integrate religious motifs.
Miguel Branco's miniature paintings present discreet and contemplative images, yet they seem to silently haunt us like specters. The "classic" manner in which these images are painted creates a subtle tension in their immediate perception. On one hand, they speak to us of our immediate present, on the other hand, they seem to already belong to a distant past.
Miguel Branco is one of the major artists of the contemporary Portuguese art scene. His work is based on metamorphosis and strangeness as well as on the image and the mechanisms it provokes. By borrowing most of his models from art history, particularly from Georges Stubbs, or by drawing from illustrations in old scientific works such as Buffon's Natural History, his works, whether paintings, drawings, or sculptures, lend themselves to a new pictorial and plastic work. Claiming these borrowings, the artist uses them in a very personal way: he creates his own images from previous ones, places his animal figures in a new context or under new lighting, with infinite knowledge and distance, exaggerates his painting to make us reevaluate the greatness of his masters (Watteau, Chardin, Fragonard, Goya, Velázquez, Bellini, Stubbs, Hogarth, Teniers...).