Page 1 Page 2 Page 3 Page 4 Page 5 Page 6 Page 7 Page 8 Page 9 Page 10 Page 11 Page 12 Page 13 Page 14 Page 15 Page 16 Page 17 Page 18 Page 19 Page 20 Page 21 Page 22 Page 23 Page 24 Page 25 Page 26 Page 27 Page 28 Page 29 Page 30 Page 31 Page 32 Page 33 Page 34 Page 35 Page 36 Page 37 Page 38 Page 39 Page 40 Page 41 Page 42 Page 43 Page 44 Page 45 Page 46 Page 47 Page 48 Page 49 Page 50 Page 51 Page 52 Page 53 Page 54 Page 55 Page 56 Page 57 Page 58 Page 59 Page 60 Page 61 Page 62 Page 63 Page 64 Page 65 Page 66 Page 67 Page 68 Page 69 Page 70 Page 71 Page 72 Page 73 Page 74 Page 75 Page 76 Page 77 Page 78 Page 79 Page 80 Page 81 Page 82 Page 83 Page 84 Page 85 Page 86 Page 87 Page 88 Page 89 Page 90 Page 91 Page 92 Page 93 Page 94 Page 95 Page 96 Page 97 Page 98 Page 99 Page 100 Page 101 Page 102 Page 103 Page 104 Page 105 Page 106 Page 107 Page 108search and celebration of existence in its motley identi- fying declinations. Raab's pictorial style shows a consistent observation of the human comedy in its circadian unfolding - observa- tion that is never entomological and clinical, but always participated and sympathetic. His creative process and pictorial style, his aesthetic re- search and observation of all that is human are never prescriptive, but problematic. His works afford an admirable example of "figurative poetry", comprised of digressions, memoirs, homage to predecessors and autobiographical glimpses masked in metaphorical form. Form as mental and compositional mental order, path to beauty in all its contours. Works created based on a Calvinistic discipline of con- trol of the expressive structure and of the formal bal- ances that alludes to a mental discipline that is just as strict, always tempered by irony and by a constantly vigil awareness of the partiality and transitoriness of every method of research and knowledge. Raab's capability to welder the prestigious historical- artistic tradition with the desire to experiment, offers a saving ethical-aesthetic formula for the pictorial medium. The artist unites skill and knowledge in manual ability - recipe against the mediocrity of "just as long as it gets done" - with speculation of research; he leads a battle for the union between the hands and the mind, science and technique, art and craft, structuring a one-to-one bond with the work itself, conscious of the fact that the direct relationship between work and artefact is basic to