A Jury full of art

Meeting of the Jury of
54 REINA SOFIA AWARD OF PAINTING AND SCULPTURE
of the Spanish Association of Painters and Sculptors

 

On Tuesday, January 29, 2019, the selection and qualification jury meeting of the 54 Reina Sofía Prize for Painting and Sculpture was held by the Spanish Association of Painters and Sculptors and has the important collaboration of Google.

The Jury was formed by Eduardo Naranjo, painter, sculptor, engraver and Academician of the Royal Academy of Arts and Letters of Extremadura, Alejandro Aguilar Soria, painter, sculptor and multidisciplinary artist, Paula Varona, the President of the Association Spanish of Art Critics, Tomás Paredes, journalist and writer Javier Sierra, Planeta Award 2017, Ana Abade Gil, Google Analyst of Public Policies of Spain and Portugal, acting as President of the same José Gabriel Astudillo López and as Secretary Mª Dolores Barreda Pérez, President and Secretary General of AEPE, both with voice but without vote and representing the Spanish Association of Painters and Sculptors, organizer of the event.

From left to right and from top to bottom: Javier Sierra, José Gabriel Astudillo López, Ana Abades, Alejandro Aguilar Soria, Tomás Paredes, Paula Varona, Eduardo Naranjo and Mª Dolores Barreda Pérez

As José Gabriel Astudillo comments, “the Reina Sofia Award has been consolidated and has become a national benchmark in which the most innovative artistic trends of these two disciplines are presented and serves as a prelude to the rest of national competitions.”

“The success of this AEPE call,” continues Astudillo, “is given by specific characteristics that make it a nursery of creative originality and aesthetic seduction in a prize that combines avant-garde and tradition, the permanent with the ephemeral.”

“The 54th Reina Sofía Prize for Painting and Sculpture brings together the main critiques of those who best understand what is happening around art in Spain. Not only the most recognized critics, but also the artists themselves, whether or not they are participants, who value and evaluate this show in a very positive way “.

The members of the Jury have had difficulty in awarding a single work, given the amount of work submitted and especially taking into account the tremendous quality of the selected works and the award-winning, which has been a great triumph achieve such a reliable and unanimous failure.

According to the jury, “the quality of the selected works is beyond doubt and is what makes this Award its most important feature, as it echoes the shortcomings of current art proposals and generates corresponding expectations with clear and spectacular visual responses. The versatility of the selected works, in which each one of them presents its own language that distinguishes them from the others, is the letter of presentation of the talent of the Spanish creators that are represented in this call.

Serious and honest proposals capable of transmitting us critical impulses and feelings that go beyond our imagination and our conception of life and artistic creation “.

The 54 Premio Reina Sofía has awarded a single work with 10,000 euros and has selected a total of 71 of the best pieces submitted to the contest in these two modalities, which will be exhibited in the magnificent exhibition of the 54 REINA SOFIA PAINTING AND SCULPTURE AWARD. will open next March 6, 2019, at 7:00 p.m. in the House of Cows of the Retiro Park in Madrid.

It will not be until that day when the jury’s decision and delivery of the Prize will take place, as well as the inauguration of the exhibition of works, which will be attended by multiple personalities from the world of culture, as well as the heads of Google, the collaborating entity of the Prize, the members of the Jury and the organization.

The exhibition of 54 REINA SOFIA PAINTING AND SCULPTURE AWARD will remain open until March 24.

 

54 REINA SOFIA AWARD OF PAINTING AND SCULPTURE
March 6 to 24, 2019
Inauguration and awards ceremony: March 6, 2019, 7:00 p.m.
Cows House of the Retiro Park
Paseo de Colombia, s / n
28009 Madrid
From Monday to Sunday from 10 a.m. to 9 p.m.
Metro: Withdrawal (line 2)
Bus: 2, 20, 28
BICIMAD: Station 102 (Calle Alcalá, 95), station 60 (Plaza Independencia, 6)

José Gabriel Astudillo López

 

Mª Dolores Barreda Pérez

 

Ana Abades

 

Eduardo Naranjo

 

Alejandro Aguilar Soria

 

Javier Sierra

 

Tomás Paredes

 

Paula Varona

 

Teddy Cobeña inaugurates his Art Gallery in Barcelona

Cobeña Barcelona Art Gallery 

Teddy Cobeña, sculptor, doctor and member of the Spanish Association of Painters and Sculptors opened on November 23, a gallery of contemporary art in the Gracia neighborhood of the city of Barcelona. In the project is accompanied by Carolina Ros, jewelry designer, in a first collective exhibition in which 23 artists from seven different countries have participated.

The inauguration ceremony was attended by personalities from the art world such as the sculptor of the Goya awards statuettes, José Luis Fernández, who also exhibits three of his works, Toshie Itabashie of the Massana School of Art, multiple artists and other persons representing the Spanish and French culture and art.

The president of the Spanish Association of Painters and Sculptors (AEPE), José Gabriel Astudillo López, has dedicated some words to the catalog of the inaugural exhibition together with the works of the artists:

“The birth of an art gallery is always a reason for celebration. It is a courageous and daring decision that very few manage to make reality and for which I can not but congratulate who I have seen growing as an artist and now witnessed his baptism as “gallerist”.

It is a risk that faces with vocation, with enthusiasm and tremendous effort, but with the one that offers the public in general the possibility of a unique and exclusive advice, by the hand of an artist.

Who better than an artist to understand and deliver, to present to other artists and creators works of emerging artists, avant-garde and consecrated, offering the public to participate in such a great show.

The cultural commitment that this gallery now includes includes all kinds of actions with which art should approach the public, translating the artistic and avant-garde languages ​​to increase the interest of society and train and educate it in a career that will have many obstacles , will be fully satisfactory and exhilarating.

The enormous responsibility of becoming mediators of art is a very important task that will also allow their growth as an artist, generating dialogues and inserting them into new social dynamics.

The business of art requires above all love, that which Teddy Cobeña puts into each of his pieces and creations and now will move to a space that, I am convinced, will host wonderful works that will allow us to know the greatness and originality of Spanish artists .

From the Spanish Association of Painters and Sculptors, our most sincere recognition for this adventure that begins and our gratitude for such a gratifying concern “.

The gallery will hold exhibitions and promotions of artists at national and international level in an agenda full of events that involve various activities within its own headquarters, in others from different cities and countries and public venues.

In the words of Teddy Cobeña “it is important to have the opportunity to sell the works, but it is also necessary to promote the artist and his creations”.

The gallery has two rooms, the main room and the “Carolina Ros” room. In the latter, a video with all the artists participating in the collective exhibition that will end on December 8 has been screened during the vernissage.

Spanish painters and sculptors, entities and the public in general have a new art gallery in the emblematic district of Barcelona.

Mª Dolores Barreda Pérez in the magazine “Discovering Art”

The last number 234 corresponding to the month of August 2018, the magazine “Discover the Art” published in the section “My favorite work”, the one commented by Mª Dolores Barreda Pérez, General Secretary of the Spanish Association of Painters and Sculptors and member of AECA.

The reason was provided by the exhibition that has been held in Toledo throughout the months of May, June and July, entitled “EScultura”, which also curated and in which more than 200 works were exhibited and which it has constituted, in the opinion of the critic and the public, one of the best examples of sculpture that have been seen in Spain in this year 2018.

The commented work has been the “favorite” of the General Secretary, the bust in stone of José Prados López, Secretary of the Spanish Association of Painters and Sculptors, work of Francisco González Macías, which has been part of the exhibition and which is exhibited at the headquarters of the centenary entity.

The magazine Descubrir el Arte is a monthly publication, cultural reference of national and international art, leader in its segment (art and culture), with a high quality disclosure and spectacular photographic display, which deals with rigor in the treatment of topics, with a wide development of information and in which prestigious critics, museum directors and art specialists, etc. collaborate.

The work of Aguilar Soria in the House of Cows of Retiro

“Self-portrait” is an x-ray of the artist’s profession

 

The Spanish Association of Painters and Sculptors yesterday presented the exhibition entitled “Self-portrait”, by the artist Alejandro Aguilar Soria, which can be seen until next August 15, 2018.

 

The success of the act was highlighted by the excellent reception of the public with which it counted and exceeded the initial expectations, collapsing “literally” the capacity of the Exhibition Hall of the Casa de Vacas.

 

The event brought together partners, friends and the public at an event that was initially held at the Casa de Vacas Theater, where Mª Dolores Barreda Pérez and José Gabriel Astudillo, General Secretary and President of the AEPE, presented the artist, who He explained to the attendees how, when and why of this exhibition, he projected a series of videos that accompanied the course of his work.

The artist’s book titled “Oil Notebook” was also presented, a splendid publication that pays homage to the 30 years of teaching of this brilliant author, about his own experiences, conclusions and technique on the pictorial procedure and in which it is reflected the life, personages, yearnings and desvelos of the own Aguilar Soria.

 

The artist, who had the memorable assistance of his mother, also painter Fernanda Soria and some of the members of his family, did not forget to thank all those who made the exhibition possible, from the City Council of Madrid, through the Association Spanish Painters and Sculptors, as well as all those related to the Larso studio, the President of the Spanish Association of Art Critics, and many renowned painters and sculptors like Ricardo Sanz, friends, students, admirers and surprised visitors.

In total there are more than two hundred works that make up the exhibition, a selection of the most significant works carried out in recent years by the Spanish artist Alejandro Aguilar Soria, who has not done a show for more than two years and who on this occasion deals with the difficult theme of artistic creation in a global vision, of the artist himself.

For José Gabriel Astudillo, President of the Spanish Association of Painters and Sculptors, Alejandro Aguilar Soria “is one of those few artists who has managed to move on the border of the modern and the most committed vanguard, while being respectful of the heritage of the traditional and classic painting. His approach is original and novel, since he approaches from experimental poetry to the most attractive objects of marketing, including author books, visual poems, oils and acrylics that make the author a representative of the genuine term of “artist” from its broadest conception and multifaceted dimension, comparable to a creative genius like Leonardo Da Vinci himself “.

 

“Aguilar Soria achieves that same level of balance, honesty and interest from contemporary thinking. His name should be likened to those of Dalí, Chirico or Magritte in their attitude and in their ability to make something new that, in reality, has always existed. Like all the greats, painting for him is the hierarchical top of the arts and drawing, his primordial gesture “.

 

Alejandro Aguilar Soria (Madrid, 1962), he graduated in Fine Arts from the Complutense University of Madrid, also doing studies of Interior Architecture and Public Relations and Advertising.

 

From her earliest childhood she lived with artists and intellectuals of the first order who lived in her house and visited her grandfather, Francisco Soria Aedo and her mother, Fernanda Soria, recognized and unjustly forgotten artists, from whom she learned the cleanliness of the stroke, drawing and the colorist technique that gives so much strength to his works. His experience in these years will profoundly mark his later artistic practice, classic and avant-garde.

 

A teacher in several art schools, assistant to the study of other great masters, he reacted to the conceptual trends of the 80s and began his personal artistic journey in a completely identifiable painting with his curious and dreamy personality. Currently, and after a gallery stage in which success took him away from his true passion, he runs his own painting studio.

 

Multidisciplinary artist, his work covers a wide spectrum of expressive forms: photography, installation, drawing, visual poetry, engraving, but it is painting that occupies most of its production.

 

The thematic axis that unifies the work of Aguilar Soria, are the symbols, signs and pictograms and their interrelation with their own and imagined environments.

 

In his oils and acrylics, his characters, usually anonymous men and women, are often seen with trivial, mute and mysterious postures and appearance, with elements as capricious as the prolongation of their members in unusual objects that become the keys hidden that suggest the relationship of these figures with each other and with the viewer.

 

Among its references: the night, the city, the history of art, cinema, photography, society, religion, culture, death, sex, animals, iconic and legendary images, etc. Any aspect that affects the formation of the contemporary being has a place in his repertoire of ideas and reflections.

 

However, there is a common denominator in his work, in his thought and in his work: the idealized current man. Aguilar Soria raises to the maximum consideration the idea of ​​the multiple man, the communicator, the one who sees everything and handles everything, the close and passionate, the one who minimizes himself with nature and the urban landscape, with the galaxies and the elements.

 

He has made important individual exhibitions among which “Iconographic Maps” stand out, at the Contemporary Art Museum of Castilla-La Mancha (Hellín, Albacete, 2009), “Icônes”, at the D’Art du Rhône Gallery (Genève, Suisse, 2005), “Games”, in the Banking Credit Suisse (Madrid, 2001), “Exp. Multimedia “, at the C.M. (Madrid, 2000), “Fractals”, in the Elvira Carreras Gallery (Madrid, 1998), “Pictogramas”, in the Galería Laberinto (Granada, 1995), “Encuentros”, in the Arsenal Museum (San Juan de Puerto Rico , 1984)…

 

A large number of private collections and important cultural institutions have works by this artist, many of which he has exhibited in such exceptional places as the Museum of the Schools of Luzón, ITIMUSEUM in Argentina, the Volpe Stessens Foundation of Buenos Aires, the Museum Manege of Modern Art of Saint Petersburg, Sharjah Art Museum of United Arab Emirates, the National Library of Madrid, the Enzo Marini Foundation of Bologna, the Circle of Fine Arts of Madrid, the Museum of Decorative Arts of Madrid, etc.

 

Member of the Salon of the XIII, “Eduardo Chicharro” Painting Prize of the LXXIX Madrid Autumn Salon and the First Prize of the XXIV Exhibition of Animal Art of the Academy of Arts and Letters of San Antón, has other awards such as the Diógenes Taborda Grand Prize of the Volpe Stessens Foundation of Buenos Aires and the Painting Prize of the Eureka Hall of Madrid.

 

For Mª Dolores Barreda Pérez, General Secretary of the Spanish Association of Painters and Sculptors and member of AECA, “Self-portrait is not the fruit of an inflamed vanity. Nothing is further from Alejandro Aguilar Soria than to make his own portrait, but to x-ray the profession from within, that is, the untidiness, disappointments, sufferings, glories, triumphs and vanities of the artists.

 

All this, through a journey in which clearly highlights the genius of a creator who demonstrates his overflowing imagination, very much in line with the avant-garde surrealism of the early twentieth century but completely updated and renewed through unconventional characters and situations.

 

And it is precisely that hodgepodge, that fusion of the most traditional painting, understood as such, as a spectacular base drawing and a well-nourished and superbly mixed color palette, all revitalized by a current oneiric and sensual vision, in which they come to life the lampposts, the doors or the chairs, the puppets of the sign language and animated pictograms that he has created, fruit of a revealing and enigmatic look, perhaps dreamed someday, and traced to the dictation of a mind always in a boil, typical of a genius and a madman, typical of an artist.

 

One begins by seeing the beginnings of the plastic artist, and comes to see the discouragement that seizes him, the first lights of a path always difficult, the disappointments of envy and incomprehension, but also everyday situations for everyone involved in this exciting world, as the presence of his works in competitions and competitions, the rejection, the indifference and finally, the glory of those who manage to succeed, with the media and marketing degeneration that also brings the final fame.

 

There is also room for creative solitude, intimate individuality that gives birth to works and ideas with talent and reflects the spirituality that this profession has beyond the lights with which it can sometimes dazzle. And of course, for the creation of works in which the subjects are multiple and are involved, as in the author’s book that Aguilar Soria presents and that surpasses any materialist proposal by sharing experiences and secrets with which he seals a sincere visual and visual communion. creative

 

The show is composed of delicate and daring visual poems, groundbreaking, unusual, oil paintings, acrylics and many, many winks at the essence of artistic creation, with multifunction pieces in which the versatility of the use and the innovative idea of ​​which well can take note any artist with concerns that want to eat a world that Alejandro Aguilar Soria has already absorbed and vomits now in superb geniuses, fruit of an innate condition in him, accompanied by an extraordinary talent.

 

In this exhibition nothing is the result of chance, from its journey to the arrangement of the pieces, creating authentic scenes that become experimental poetry, with very curious winks, in which the artist demonstrates his good mood and his own self-criticism in funny and details in which it is worth reconsidering and appreciating every touch of genius that they contain “.

 

Exhibition: “Self-portrait”

Artist: Alejandro Aguilar Soria

From July 19 to August 15, 2018

From Monday to Sunday, from 10 a.m. to 9 p.m.

House of Cows of the Buen Retiro Park

Paseo de Colombia, s / n

28009 Madrid

The three women of EScultura

A great effort with an unsurpassed result

On May 4, the Spanish Association of Painters and Sculptors inaugurated the exhibition entitled “EScultura”, a magnificent exhibition with works by the best sculptors in Spain of the last three centuries and including 150 pieces by 76 artists, most of them members founders and current partners of the Spanish Association of Painters and Sculptors, among which Rodin, Degas, Archipenko, Picasso, Dalí, Julio Antonio, Benlliure, Blay, Venancio Blanco, Julio López, Francisco López, Clará, Capuz, Coullaut Valera stand out. Juan Cristóbal or Victorio Macho.

A magnificent exhibition in which there are also present prestigious sculptors such as José Luis Fernández, Chaparro, Coderch & Malavia, Javier de la Rosa and Fernando Suárez Reguera, as well as young promises already known from specialized media such as Andrés Lasanta, Jorge Yunta, Victoria Arbeloa, Mónica Cerrada, José Manuel Martínez Pérez, Pedro Pozzo, Iria Groba and Pilar Vich.

Three were the women who made the sample possible. Two of them would curate EScultura: Mª Dolores Barreda Pérez, General Secretary of the Spanish Association of Painters and Sculptors and Art Critic and Mª Luisa Codina del Amo, Manager of the Codina Foundry. Itziar Zabalza Murillo, renowned artistic professional who joins the work of cultural manager, has carried out the coordination work, an important task that has turned out to be especially efficient, taking into account that it has been necessary to organize more than 50 artists.

Itziar Zabalza Murillo, Mª Dolores Barreda Pérez and Mª Luisa Codina del Amo

 

The effort made by the three, has led to the success of the show, after eight months of intense work in which both have worked closely to achieve an articulated journey from the late nineteenth century to the present and in which the creation is present artistic from the points of view of form, movement and construction.

His work is the result of the meeting of the stimuli of critical discourse, the expressive capacity and the expository argument that encourages the visitor to share the experience in the initiation to the incredible world of sculpture, in an exciting journey that covers the most significant of the last three centuries of the art of sculpture.

Never before a space had housed the works of the greatest masters of sculpture of the late nineteenth and twentieth centuries in an exceptional artistic synthesis, since they also present current sculptors, brimming with talent, who share the greatness of their origin: the prodigious hands of the most important sculptors in the history of sculpture in Spain

As Mª Dolores Barreda Pérez points out, this exhibition is a great exclamation, a cry of attention to the public opinion to claim that the sculpture suffers a great discrimination and occupies a less prominent place to be seen as a minor art, compared to the rest of the fine arts.

To demonstrate that this is not the case, we present a vision of sculpture from the end of the 19th century and throughout the 20th century, through the funds of the Codina Foundry, and a contrasted, continuous and tremendously encouraging vision of the sculpture of the 21st century, through marbles, bronzes, plasters and original terracottas in a particular and amazing journey that shows us that painting is not only first class art.

There is also a review of artists who do not deserve the oblivion in which they have been plunged. A unique exhibition that can hardly be seen again in Spain and that places special emphasis on the moment of great splendor that Spanish sculpture is experiencing today.

It is an unrepeatable occasion and you can not miss the chance to see the works of the great masters such as Benlliure, Rodin, Picasso or Dalí in Toledo … a great and authentic luxury that can be enjoyed by large and small, national and foreign, visiting the city ​​in these months. An offer at the height of any large European city that Toledo can boast and show off.

To all this we must unite the exemplary disposition, illusion and work that has made the San Clemente Cultural Center, whose splendid facilities and high level of exhibition make this great show possible, which will make Toledo again, the artistic center of Spain during the two months that the exhibition remains open.

(Español) Entrevista a Pedro Quesada Sierra, 53 Premio Reina Sofía de Pintura y Escultura

Sorry, this entry is only available in European Spanish.

Meeting of genios in the Jury of 53 Reina Sofía Award of Painting and Sculpture

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Organized by the Spanish Association of Painters and Sculptors, has the collaboration of Google

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The prestigious jury that endorses the 53 Queen Sofia Prize for Painting and Sculpture has been integrated by the “greatest masters” of current art in their respective fields, constituting an exceptional meeting of geniuses, difficult to surpass and uncharacteristically twinned by the common spirit of enlarge a call that has already become one of the most important in the Spanish art scene.
Under the auspices of the Spanish Association of Painters and Sculptors, the most outstanding artists, writers and critics of Spanish art have come together to confront and take the pulse of the current world of fine arts, and can now be considered as one of the meetings of geniuses more important than those made in Spain to date.
To think that today a photograph of the same characteristics can be repeated is going to be a bit difficult, since the continuous occupations of each one of the portrayed ones do not make it possible to coincide as they did last Tuesday, February 13, date in which took part in the jury of the edition number 53 of the Queen Sofia Prize for Painting and Sculpture.

The Jury was chaired by José Gabriel Astudillo López, President of the Spanish Association of Painters and Sculptors, acting as Secretary of the same Mª Dolores Barreda Pérez, Secretary General of the AEPE, both with voice, but without vote, and having as members to Antonio Vargas Cano de Santayana, Manager of Policies and Public Affairs of Google, Antonio López García, Painter and Academician of the Royal Academy of Fine Arts of San Fernando, Julio López Hernández, Sculptor and Academician of the Royal Academy of Fine Arts of San Fernando , Eduardo Naranjo, Painter, sculptor, engraver and Academician of the Royal Academy of Arts and Letters of Extremadura, Alejandro Aguilar Soria, Painter, sculptor and multidisciplinary artist, Evaristo Guerra, Painter, Javier Sierra, Journalist and writer of the Planeta Award 2017, Javier Rubio Nomblot, Art Critic and curator and Tomás Paredes Romero, President of the Spanish Association of Art Critics.


From left to right and from top to bottom: Alejandro Aguilar Soria, Mª Dolores Barreda Pérez, José Gabriel Astudillo, Antonio Cano, Javier Rubio Nomblot, Javier Sierra, Eduardo Naranjo, Julio López, Evaristo Guerra and Tomás Paredes

In an intense and long day that lasted almost six hours, the works of selection and qualification of the works that will be exhibited in the exhibition of the 53 REINA SOFIA PAINTING AND SCULPTURE AWARD, which from March 2 to 18 will be open to the public, were carried out. at the Casa de Vacas in Madrid, Parque del Buen Retiro.
The exhibition will open on Friday, March 2, but it will not be until the 8th of the same month when S.M. Queen Sofía gives the prize that bears her name in the same place, thus making known the jury’s decision.
The 53 QUEEN SOFIA PAINTING AND SCULPTURE AWARD is endowed with 10,000 euros, medal and diploma from the Spanish Association of Painters and Sculptors.
There have been almost 300 works submitted to the contest, which have had to make an exhaustive selection that in the opinion of the jury, has tried to maintain a coherence and a variety of styles to reflect the current state of art in Spain, also accommodating to young creators and other authors already known, but above all, with novel trends and subtle winks at the forefront.
But the jury also wanted to highlight the excellent quality and special creativity of the works presented, as well as the remarkable increase that the sculpture has had in this edition, which has made the selection and final determination of the prize more difficult and complicated, but that is going to suppose that the sample that reunites all the works, has an exceptional quality, becoming one of the best exhibitions that will be able to be seen in Madrid in the next months.
After the exhibition, it can be seen in the Google Arts & Culture, where previous editions of the REINA SOFIA PAINTING AND SCULPTURE PRIZE are already available and where you can also see other exhibitions that the centenary entity is uploading to this important and prestigious art portal with which to reach all corners of the world.

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José Gabriel Astudillo López

Mª Dolores Barreda Pérez

Antonio Vargas

 Antonio López 

 Julio López

Eduardo Naranjo

Alejandro Aguilar Soria

Evaristo Guerra

Javier Sierra

Javier Rubio Nomblot

Tomás Paredes

The death of a great sculptor

He has died Francisco López Hernández, one of the “Realists of Madrid”

The Spanish Association of Painters and Sculptors wishes to express its deepest sympathy for the sad loss of one of the greatest artists in Spain, their relatives and friends, especially their widow and brother Julio, with whom we are united by a close bond of Friendship and collaboration.

The sculptor Francisco López Hernández, belonging to the group of “Realists of Madrid”, passed away on January 8, 2017, in Madrid, at the age of 85 years.

esquela-francisco

Francisco López was part along with his wife, the painter Isabel Quintanilla, the historical and generational group of painters and sculptors who lived and worked in Madrid since the 1950s, united both by the bond of their formation and their work as by their Personal and family relationships.

In addition to this marriage, the group consisted of Antonio López García, his wife, María Moreno, the sculptor Julio López Hernández, Francisco’s brother, his wife, the painter Esperanza Parada and Amalia Avia, married to the artist Lucio Muñoz. Although not all of them were born in Madrid, this city was the main place of residence and work.

francisco-lopez

Son, brother, husband and father of artists, Francisco López was characterized by his incomparable drawing and the way of getting to intervene the sense of space and time, the being of things, the roughness and the sweetness of touch, the most cherishing of The real thing to know how to feel like their beautiful fragility.

An excellent sculptor, a former pupil of Julio Capuz in the School of Arts and Crafts, between 1951 and 1955, López Hernández had a portentous sense to model and compose spaces and, let us say, to approach the most endearing of figures.

However, perhaps his best artistic quality was to look unseen, a humility that subtracted public projection, but nevertheless increased, the depth of his vision.

Francisco López Hernández stands out for the originality of his profile, for his classic inspiration, whose incursions gave a posture of beauty to his insightful look at reality and his impeccable sense of the trade, which make him one of the most authentic creators of Spanish art contemporary.

He was born in Madrid in 1932, in a family of goldsmiths where the brothers López Hernández, live the tradition that starts from his grandfather Francisco López, who in turn comes from a tradition handmade Albacete (Riopar). He founded a goldsmith’s workshop in the Madrid neighborhood of Tetuán, which in turn inherited his son Julio López Blázquez and in which his first experiences Julio and Francisco, children of the latter. The father of the brothers L.H. Is also professor of engraving in hollow in the School of Fine Arts of San Fernando.

He began his training at the School of Arts and Trades of Madrid and later entered the School of Fine Arts of San Fernando, where he studied his brother Julio and where he would meet Antonio López and Lucio Muñoz.

 He exhibited for the first time in 1955, accompanied by other artists belonging to the Spanish contemporary realist school, Antonio López and Julio López Hernández, his brother, and the informalist, Lucio Muñoz. Since then, along with other artists such as his wife, Isabel Quintanilla, Esperanza Parada or Amalia Avia formed the vanguard of Spanish realism in art.

In 1956 he traveled to Rome with a scholarship from the Ministry of Education and completed his training with stays in Paris and Greece. He returned to Rome and remained between 1960 and 1964 in the Academy of Spain, occupying a square won by opposition. On his return to Spain he was awarded a scholarship by the Juan March Foundation in 1966 and from 1969 he was a professor of medals at the Academy of Fine Arts in San Fernando.

A year later, in a show at the Kunstkabinett in Frankfurt, the concept of Spanish Realism is coined for the work of Francisco, Julio López, Amalia Avia, Antonio López, Isabel Quintanilla and María Moreno. These artists, along with some more, were presented in London at the Marlborough Gallery in 1973.

From the seventies, Francisco López participated in numerous exhibitions in Germany, France, Switzerland, the United States, as well as in Spain: Realistes a Madrid (Barcelona, ​​1984); Another reality: colleagues in Madrid (Madrid, 1992); Realism and its roots (Vigo, 1996); Luz de la mirada (Segovia, 2002) or Realities of reality (Valencia, Badajoz, Salamanca and Castellón, 2006-2013).

The original “School of Madrid” made its first exhibition in 1945 (Anthology Exhibition, Madrid School, Caja de Madrid, 1990). Javier Tusell defines it as: “The previous to the school of Vallecas, the teachings of Vázquez Díaz, some brilliant contemporaries, a will of modernity within realism and a commercial procedure imagined by successive galleries.”

The generation to which these artists belong is that of the postwar period. Its childhood develops in a Spain in which the war has left devastated the economy and the artistic and intellectual means

For Francisco, “sculpture has always had a public function, from the Colossi of Memnon to the Alfonso XII of Benlliure, it has been a part of civic life, it is very difficult to perform. I do not know how difficult it is to calculate that, so in my case the public character of the sculpture is always present, not necessarily always external, but it is something that I have in mind. Indoors it is less frequent and smaller. “

Francisco was of the opinion “that the work of art must be driven by aesthetic components that transcend the mere reproduction of the real object. The creative action consists in (an intensification of the representative form), that is to say, to go beyond the traditional pact between the gaze and the work, so that the rules of the game are transgressed, conferring reality to the work itself. “

His works are in numerous prestigious museums, including the Reina Sofía National Museum of Art in Madrid, the British Museum in London, the New Pinacoteca in Munich and the Juan March Foundation. It also has a good number of works in public places in Madrid, such as the Velázquez Monument, Relieve in the Faculty of Philosophy of the Complutense University, Tribute to the commercial agent in the Puerta de Atocha Station in Madrid or the Monument to Enrique Tierno Galván del Planetarium Park.

And in different Spanish cities like Malaga (Portrait of the painter Pablo Picasso in the Plaza de la Merced), Barcelona (Ofelia drowned in the Gardens of Villa Cecilia), Logroño (Woman in the source), Pamplona (Monument to Carlos III, Noble , Plaza del Castillo with Carlos III Avenue), Bilbao (Monument to José Antonio Aguirre and Lecube, Calle Ercilla or the Monument to Blas de Otero).

There is very little representation of this artist in the large specialized publications of art, which may be due to the lack of knowledge of the person and the lack of information about him, rather than the fact that he can be considered an artist eclipsed by others Of their own movement.