When it comes to realistic painting, most people think of "realistic", just like photos.
But is realistic painting just "realistic"?
López is working
López once said: "My paintings not only present reality, but also inject some special meaning into them."
- An inner feeling born of the object being painted. ”
Table, 89x101cm oil painting, 1980
Sink and Mirror
Sinks and Mirrors (Partial)
Lopez's works, such as relatives, refrigerators, bathhouses, Madrid streetscapes, a corner of the courtyard, etc., excavate hidden beauty in approachable themes, in a realistic traditional way, expressing the true nature of the inner.
"Sink"
Flush Toilet and Window, 143x93.5cm oil painting, 1968-1971
In 1936, López was born into a peasant family that could not be more ordinary.
His uncle Antonio López Torres was an excellent painter of bad luck
He discovered his nephew's talent and became his initiation teacher, which had a great influence on his growth.
"The New Refrigerator"
Madrid South, 153x244cm oil on canvas, 1965-1985
What López received at the Academy of Fine Arts was typical of a traditional education; there was not much specific teaching from the professors.
The Prado Museum of Art became an important place for him to study.
Avenida, 93.5x90.5cm, oil on canvas, 1974-1981
In 1964 and 1969, he was recruited to teach at his alma mater, teaching color to students.
His creative attitude is very serious, and every time he creates a work, he always has to think about it and revise it repeatedly.
Many works took four or five years or even more than ten years to complete.
The Window
He once said that he was not deliberately arrogant, but often dissatisfied with himself and often did not achieve the goal he pursued.
Madrid from the White Tower, 145x244cm oil on canvas, 1976-1982
As a result, his works are relatively few and exhibit even less. However, when he first entered the art world, he was extraordinary.
Atocha, 95x105cm oil on canvas, 1964
Madrid is where López's artistic style matures, a city that represents his desire and is one of his most enduring artistic themes.
Skinned Rabbit, 53x60.5cm oil on canvas, 1972
By the late 1960s, it had attracted widespread attention in Europe and the United States.
Today, López has been recognized as an outstanding representative of the figurative world of the world art world.
Carmen at Play, 107×150cm oil on canvas, 1959-1960
López chose the figurative path, in his own words, "destiny," "destiny."
The subtle and powerful influence of Spain's fine artistic tradition on López is immeasurable.
Three Doors Studio, 98x113cm pencil, 1969-1970
This influence became particularly direct and concrete, especially through the artistic enlightenment education given to him by his uncle.
He took his uncle's emphasis on "learning from nature" as his motto.
The Home of Antonio López Torres, 82x68cm, pencil, 1972-1975
In the fifties he studied art, Spain though was under Franco's rule
It does not have the freedom of artistic creation that is available in france in the north.
However, abstract art and other non-form languages have flowed after all.
Greek Headdress and Blue Dress, oil on canvas, 1958
Dead Children, oil painting, 1957
Barcelona's "Seventh Side of the Dice" and the Northern "Altamira Pie" are two famous groups
It is in this context. Thus, in the face of López, there are different options and possibilities for development.
He resolutely chose the figurative path.
Iris and Rose, 66.5x66.5cm oil on canvas, 1977-1980
Carmen's First Communion, 99× 81.2cm oil painting, 1960
In addition to painting, López also created a large number of sculptures.
He argues that "the art of painting and sculpture has always hovered between two extremes: grasping the human person in the sense of physics and understanding his dreams".
He not only developed a strong interest in sculpture, but also believed that painting and sculpture complemented each other.
In the works, whether it is a grand urban landscape or a delicate portrait depiction
The viewer can appreciate the taste of life and the changes in the world.