The painterly mould of Gonzalo Orquín looks to the tradition of the Spanish realism of the 19th and 20th centuries, translating the intimate nature of everyday events into moments of measured theatricality; also in Après l’amouraprès Fabbri the delicacy of the gestures (and signs) is captured in the deepest sense of existential presence, allowing us to imagine what has happened as if the canvas were still the symbolic frame of a narration that is open to the diegetic event: “love” and “Fabbri” have the same substantial identity and, played on the rhetorical axis of metonymy, represent consumed passion, the first as a carnal act and the second as enjoyment of the senses, without ever touching the emotive force of the action in itself. The whole story is left to theobserver’s imagination; on thecanvas there only remains theeuthymia of the soul shown onceagain indirectly by an ataraxicmirror that observes the internaldimension of the eventsimperturbably.