I walk along the retrospective of Antonio López in Boston

They will say that I have an obsession with the work of Antonio López and perhaps be in the true thing, but what happens the fact is that López me takes a fancy like these ancient artists, these big artists who do his work and not much more, because the humility and simplicity of his person, together with his art, are things of admiring in these times.

We have spoken much of him in this 2008 that happened, but it has been one year of big moments for Antonio López: first the retrospective in the Art museum of Boston, then Madrid from White Towers as the most expensive picture of a living Spanish artist.

For whom they have not seen or not it they have found out about this big artist and his work, here a small reportage of the exhibition in Boston and a walk along the principal works that were seen. Let's hope that in this 2009 podramos to see in Spain a sample so finishes of Antonio López, who by force of being wrong, is one of the Spanish artists somewhat forgotten in his ground. Also neither more nor less than the words of proper Antonio López to understand it to he and his art.

Antonio López García, in The hour Chanante

One more video The hour Chanante in his parody of the most quoted Spanish painter: Antonio López García, somewhat delirious, certainly, and with the stellar performance of Salvador Dalí, Pablo Picasso.

For a few weekend laughs, with the whole respect to Antonio who is one of our best artists!

Study of two backs, of Antonio López in the auction of Spanish art Christie's

This is the last picture with which Antonio López García informs in the auction anniversary of Spanish art of Christie's Madrid.

STUDY OF TWO BACKS

Signed and dated áng. I center, inf: Antonio López García 1964
Pencil on pasteboard
39 x 55 cm
Identical with 1964
Origin: Gallery Juana Mordó, Madrid

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Works of Antonio Lopez García in the auction of Spanish art Christie's

Since it could not perform another form, the best quoted Spanish painter is present in the auction of Spanish art of Christie's Madrid with two marvelous pictures:

THE SALMANTINA

Signed left low angle: Antonio López García. Year 1960
Oil on linen
102 x 90 cm
Identical with 1960

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He interviews Antonio López: history of the work to come to the sculptures of Day and night

They will say that this recurrence is obsessive in me on the figure of Antonio López and I will have the justificatory one: I perceive it how a full, calm artist satisfied with his work, with a profile under which it fills it with the big aura about which Walter Benjamin was speaking.

In detail the process of work, meticulous and thought-out, of the trip of artistic production of the sculptures Day and night, the immense caebzas that represent two of his grandchildren and that we can enjoy at the Station of Antocha. Nothing better than the same Antonio to explain his work.

Exhibition of portraits of idols of the hip hop painted like the outstanding figures

The rapper Ice-T as Napoleón. Photo: Smithsonian Institution

Someone time habrás I dress pictures or reproductions of portraits of Unpotter's clay, Rubens or Sargent, in which the personages of his epoch were painted by the rigorousness and pompousness of the painting of his time, in dramatic and very well staged time exposures.

Since the contemporary art has done homage to the idols of the hip hop from the hand of the plastic artist Kehinde Wiley, who decided that the best way of representing the heroes of the music is the classic and/or baroque style of the big painters.

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Images of the hyperrealistic exhibition of Duane Hanson

One of my guilty pleasure is the fascination (almost obsessive) for the hyperrealistic sculpture, especially in the work of Ron Mueck. Some weeks ago we speak about the exhibition Sculptures of the American dream, the first retrospective of Duane Hanson in Spain.

For whom they still have not gone, we remember that they have time to visit until August 24 in Art Channel Madrid.

The fabulous of the hyper-realism of Hanson there is the collision of the human subject-matter of the American dream and this collection of statuesque human beings who represent the defeat of this unreal ideal. Simply viral and sharp the look of the work of Hanson.

Representatives of the Spanish hyper-realism

I have breakfast with bun. 1975. Matíaas Quetglas.

I have breakfast with bun. 1975. Matías Quetglas.

As representatives of the Spanish hyper-realism we find a numerous group of authors who have devoted themselves to realize hyperrealistic works; authors who have realized hyperrealistic works without stopping realizing realistic works; and contemporary authors, young values or new promises inside the hyperrealistic production.

The Spanish hyper-realism is provided with a big number of consecrated authors. The School of Seville is represented by Juan Bautista Nieto, Cristóbal Toral and Eduardo Naranjo; and the School of Madrid, for Antonio López, Enrique Jiménez Carrero, Elizabeth Quintanilla, and Matías Quetglas.

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Spanish hyper-realism

Wash-basin. 1967. Antonio López García.

Wash-basin. 1967. Antonio López García.

The hyper-realism is an artistic tendency born variant of the realism in the United States on the sixties, consisting of the perfection of the mastery of the drawing and the representation exaggeratedly faithful of the reality, up to a radical point realized with a big thoroughness.

The Spanish hyper-realism has a place emphasized inside the artistic panorama. Basically we find two schools inside the Spanish hyper-realism, the School of Seville headed by Eduardo Naranjo; and the School of Madrid, headed by Antonio López García.

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Work of Antonio López García: Communion Carmencita

Communion Carmencita. Antonio López García. 1960.

Communion Carmencita. Oil on table. 100 x 81 cm.

1960. Antonio López García.

Communion Carmencita, is a pictorial work in oil on table realized in the year 1960 by the Spanish artist Antonio López García.

Undoubtedly, communion Carmencita is not one of the best pictorial works of author Antonio López García, although it does not stop being representative of his production. Since we can appreciate, the work, it supports this unavoidable trace of the author, who turns out to be completely personal.

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