See other sites related to Antonio López : ​ Galería Marlborough represents Antonio López. ​ To license or request images of his works, please visit: VEGAP ​ ​ ​ You can see Antonio López's works in: CLODART ​ ​ ​ ​ ​ Digital application about the work of Antonio López by TF editors : in TF website , available also on iTunes You can see the works as well as information about the painter MARÍA MORENO on her website CONTACT Email us at: estudioantoniolopez@gmail.com — Or use the form in this page ¡Tus datos se enviaron con éxito! Enviar Anchor 1

Engravings of Antonio López, Images Gallery CONTACT estudioantoniolopez@gmail.com ancla cero

sketches ​ Both before and after the filming of The Quince Tree Sun , between 1990 and 2003, Víctor Erice recorded Antonio López working in several artworks that he was carrying out in different parts of Madrid, exploring what could emerge from the encounter with the painter's work. From these Sketches Víctor Erice conceived an installation that presented the pictures of Antonio López through the cinema; the images that the artist saw while working in these works, but adding to them what the stillness of a painting cannot: sound, motion and time. The result, Fragor del mundo. Silencio de la pintura (The World Roar. Silence of painting), could be seen in 2006 at the CCCB in Barcelona and then at La Casa Encendida in Madrid during the exhibition showing the careers and correspondence of Víctor Erice and another renowned filmmaker, Abbas Kiarostami. There occurred a new encounter between art and cinema, where in addition to that installation it was also shown the result of the work of Antonio López at these locations in an unusual way. In particular, in the exhibition were shown the paintings Gran Vía (1974-1981), Madrid desde Torres Blancas (Madrid from Torres Blancas) (1974-1982) and Madrid desde el Cerro Almodóvar (Madrid from Almodóvar Hill) (1991-1994) and the resulting works from filming The Quince Tree Sun : the drawing Árbol de membrillo (Quince tree) (1990) and the painting Membrillero (Quince tree) (1992) -in which he continued working after the shooting-. Wisely Víctor Erice subverted the way of exhibiting cinema and painting in this project, thus presenting the art works surrounded by darkness, illuminated from behind and wrapping them in the ambient sounds collected in those places where Antonio painted them. ​ ​BHC ​ Anchor 1

Online access to some works of Antonio López located in different collections: In the Museum of Fine Arts, Boston In the Museo Nacional Centro de Arte Reina Sofía, Madrid In the MOMA, New York In the Fundació Sorigué, Lérida In The Baltimore Museum of Art, Maryland: Boy Remains from a meal In the Fundación Juan March, Palma In the Royal Collections of Spain's National Heritage, Madrid In ARTIUM, Álava In the Museo de Bellas Artes, Bilbao In the BBVA Collection, Madrid In the Iberdrola Collection, Bilbao In the Museo Provincial, Jaén In the Museo-Casa Ibáñez, Olula del Río, Almería In the Fundación Telefónica, Madrid At the Fogg Art Museum, Harvard University, Cambridge, Massachusetts In The Cleveland Museum of Art, Cleveland, Ohio In the Musée National d'Art Moderne, Centre Georges Pompidou, Paris In the Nagasaki Prefectural Museum of Art, Nagasaki ancla cero CONTACT estudioantoniolopez@gmail.com

CONTACT studioantoniolopez@gmail.com ancla cero Jarra y pan, 1949 pencil on paper pasted on board, 39,1 x 26,3 cm Niño con tirador, 1953 oil on canvas, 94,5 x 130 cm Mujeres mirando los aviones, 1953-54 oil on canvas, 147 x 114 cm Los novios, 1955 oil on canvas, 120 x 104 cm, Museo Nacional Centro de Arte Reina Sofía, Madrid. 50's Sinforoso y Josefa, 1955 oil on canvas, 62,5 x 88,5 cm Mujeres en diálogo, 1955-56 oil on canvas, 100 x 128 cm, Museo Provincial de Jaén. Mis padres, 1955-56 oil on canvas glued to board, 87,3 x 103,9 cm, Centre Pompidou, París. Mesa en la Nochebuena, 1957 oil on canvas, 75,5 x 98,5 cm 50s, travels and solo show Cuatro mujeres, 1957 charcoal on paper pasted on board, 100 x 200 cm, Niña muerta 1957 oil on canvas, 90 x 105 cm, Museum of Fine Arts, Boston En la cocina, 1958 oil on canvas, 110 x 140 cm Cabeza griega y vestido azul, 1958 (intervened 2011), oil on tablex, 74,2 x 97,5 cm La novia, 1959 oil on canvas, 85 x 100 cm Francisco Carretero y Antonio López Torres conversando, 1959, oil on board, 70 x 96 cm 50s, sculpture. Paseo del cementerio, 1959 oil on board, 49 x 65 cm Mujer en la playa, 1959 charcoal and pencil on paper glued to board, 103 x 184 cm, Museo Municipal de Bellas Artes, Valdepeñas. Mujer durmiendo, 1960-61 bronze, 121 x 20,5 cm x 12 cm, ed. de 9, Museo de Arte Contemporáneo de Caracas El Campo del Moro, 1960 oil on board, 122 x 244 cm 60's, reality Madrid, 1960 oil on board, 122 x 244 cm Calle de Santa Rita. Tomelloso, 1961 oil on board, 62 x 88,5 cm Busto de Mari, 1961-62, bronze with golden patina, 36,5 x 38 x 22,7 cm, 2/9, Col. Caja de Burgos Otoño en Tomelloso, 1961 oil on board, 61 x 98 cm. Membrillero, 1961 oil on board, 49,5 x 50 cm Mari en Embajadores, 1962 oil on board, 80 x 75 cm La fresquera, 1962 polychrome wood, 58,5 x 94 cm, Museum of Fine Arts, Boston Madrid desde el Cerro del Tío Pío, 1962-63, oil on board, 101,7 x 129,5 cm Mujer durmiendo, 1963 polychrome wood,121 x 205 x 12 cm, Museo Nacional Centro de Arte Reina Sofía, Madrid. Perro muerto, 1963 oil on board, 73 x 100 cm, Fundació Sorigué, Lérida. El manzano, 1963 oil on canvas, 89 x 116 cm Atocha, 1964, oil on board, 95 x 105 cm, Museum of Fine Arts, Boston La percha, 1964, polychrome wood and polyester, 147 x 126 x 28 cm, Museum of FIne Arts, Boston La aparición, 1964-65, polychrome wood, 54,5 x 80,2 x 13,6 cm, Museum of Modern Art, Nueva York (MoMA). Nevera de hielo, 1966 oil on board, 117 x 142 cm 60's, bathrooms Lavabo y espejo, 1967 oil on board, 98 x 83,5 cm, Museum of Fine Arts, Boston. Eva, 1967 pencil on paper,18 x 24 cm Mujer en la bañera, 1968 oil on board, 107 x 166 cm Ropa en remojo, 1968 oil on board, 80,5 x 74 cm 60's, gallery and exhibitions El jardín de atrás, 1969 oil on board, 86,5 x 100 cm Elena Cárdenas con su hijo, 1969 pencil on paper, 21 x 16 cm Interior del baño, 1969 pencil on paper glued to board, 49 x 34 cm Estudio con tres puertas, 1969-70 pencil on paper glued to board, 98 x 113 cm, Fundació Sorigué, Lérida. El mar, 1970 oil on canvas pasted on board, 73 x 100 cm. Mari en la clínica, 1970 pencil on paper, 46 x 63 cm La vitrina, 1970 pencil on paper, 50 x 42,5 cm Membrillero de Ciudad Florida, 1970 pencil on paper, 68 x 83,5 cm Madrid hacia el Observatorio,1965-70 oil on board, 122 x 244 cm Carmencita con abrigo negro, 1966-70 oil on board, 42 x 57 cm Centro de Restauración, 1969-70 pencil on paper glued to board, 84,7 x 100,5 cm 70s, windows. Ventana de noche, 1971-75-80 oil on board, 120 x 81 cm Cuarto de baño, 1970-73 pencil on paper glued to board, 244 x 122 cm, Fundació Sorigué, Lérida. Cuarto de baño, 1971 pencil on paper glued to board, 75,5 x 65,5 cm Mujer en la bañera, 1971 pencil on paper, 52 x 70 cm Restos de comida, 1971 pencil on paper, 42 x 54 cm, Baltimore Museum of Art, Maryland. Mari en la clínica comiendo, 1971 pencil on paper glued to board, 62 x 74,5 cm Emilio y Angelines, 1961-65-72 oil on board and pencil on paper, 107,8 x 98,6 cm El metro, 1970-72 oil on board, 97 x 122 cm Habitación en Tomelloso, 1971-72 pencil on paper glued to board, 81 x 69 cm Conejo desollado, 1972 oil on board, 53 x 60,5 cm La cicatriz, 1972 pencil on paper, 25 x 36,5 cm María, 1972 pencil on paper glued to board, 70,1 x 53,3 cm Casa de Antonio López Torres,1972-80 pencil on paper, 82 x 68 cm Cocina en Tomelloso, 1975-80 pencil on paper glued to board, 74 x 61 cm Vallecas, 1977-80 oil on canvas pasted on board, 105, x 130,5 cm 80s. Calle de la Feria, 1980 oil on canvas, 79,5 x 84,5 cm Calle de Tomelloso, 1980 pencil on cardboard, 51 x 73 cm Gran Vía, 1974-81 oil on board, 93,5 x 90,5 cm Ventana por la tarde, 1974-82 oil on board, 141 x 124 cm Madrid desde Torres Blancas, 1974-82 oil on board, 156,8 x 244,9 cm Rosas blancas, 1982 oil on canvas, 49,7 x 47 cm Rosa roja, 1982 oil on canvas, 63,4 x 68 cm Francisco 1, 1985 pencil on paper, 203 x 101 cm Manuel, 1985 pencil on Guarro Basik paper, 185 x 92 cm Madrid sur, 1965-1985, oil on board, 153 x 244 cm, Col. Masaveu Tomelloso, una calle de las afueras, 1986, pencil on paper, 51 x 57,5 cm Francisco Carretero,1961-87 oil on board, 93 x 78,8 cm Frutas y verduras, 1988 pencil on paper, 73 x 87 cm Membrillos, granadas y cabeza de conejo, 1988, pencil on cardboard, 73 x 87 cm Membrillero, 1989 pencil on paper, 41 x 51 cm Ciruelo, 1989 pencil on cardboard, 73 x 87 cm Rosas rosas, 1989 oin on canvas, 53 x 47 cm 90s Árbol de membrillo, 1990 pencil on paper, 104 x 120 cm Membrillero, 1992 oil on canvas, 105 x 119,5 cm Terraza de Lucio, 1961-92 oil on board, 172 x 207 cm. Lilas, 1992 watercolour on paper, 53 x 68 cm. El Campo del Moro, 1990-94 oil on canvas glued to board, 190 x 245 cm Nevera nueva, 1991-94 oil on canvas, 240 x 190 cm Hombre y Mujer, 1968-86-94 polychrome wood, H: 195 cm / M: 169 cm. Museo Centro de Arte Reina Sofía, Madrid. Calabazas, 1994-95 pencil on paper, 72,7 x 90,8 cm, Fundación ICO, Madrid. Afueras de Madrid desde el Cerro Almodóvar, 1991-96, oil on canvas, 180 x 180 cm Madrid desde Capitán Haya, 1987-96 oil on canvas pasted on board, 184 x 245 cm, Museo Nacional Centro de Arte Reina Sofía, Madrid. Rosas, 1996 oil on canvas, 54 x 51,1 cm. 2000s decade Retrato de sus Majestades los Reyes de España D. Juan Carlos y Doña Sofía, 1999-2001, bronze, 250 cm high. Co-authorship with Julio and Francisco López Hernández. Hombre, 2003 bronze, 193 x 63 x 37,5 cm Hombre, 2003 bronze, 193 x 63 x 37,5 cm Madrid desde la torre de bomberos de Vallecas, 1990-2006, oil on canvas, 250,5 x 406 cm, Montemadrid Foundation Collection on deposit at the Assembly of the Community of Madrid. Dibujo de escultura "Hombre andando" 2007, red pencil, graphite and collage on paper, 185 x 110,5 cm Rosas de Ávila, 2007 oil on canvas, 53 x 50 cm Rosas rojas, 2007 oil on paper, 21 x 29,5 cm Rosas, 2007 oil on canvas, 50 x 47 cm Rosas rosas, 2007 oil on canvas, 51 x 48 cm Rosas de Ávila II, 2008 oil on canvas, 53 x 50 cm El día y La noche, 2008 bronze, aprox. 300 cm and 320 cm high Rosas de Ávila III, 2009 oil on canvas, 53 x 50 cm Perfil y frente para escultura de "Hombre tumbado", 2009, pencil, blue marker and tracing paper on paper, 140,5 x 220,5 cm Rosas, 2010 oil on canvas, 53 x 50 cm Rosas, 2010 oil on canvas, 53 x 47 cm Recent years Violetas, 2011 oil on paper, 29,5 x 21 cm Diferentes movimientos para "Hombre andando". Fernando, 2009-2011, blue and red pencil, graphite, tracing paper and collage on paper, 220 x 110,5 cm Dibujos para "La mujer de Coslada" 2009, pencil and pen on paper, 143 x 97 cm (set of 7 drawings) Familia de Juan Carlos I, 1994-2014 oil on canvas, 300 x 339.5 cm, Col. National Heritage, Spain Gran Vía, 1 de agosto, 7:30 horas 2009-2015, oil on canvas, 126 x 130 cm Fatima, 2012-2015 polychrome wood, 67 x 53 x 25 cm Rosas de Ávila VII, 2013 oil on canvas, 54 x 51 cm Rosas de Ávila VIII, 2014 oil on canvas, 54 x 51 cm Rosas de Ávila IX, 2014 oil on canvas, 54 x 51 cm Rosas de Ávila X, 2014 oil on canvas, 53 x 50 cm Rosas de Ávila, XI, 2016, óleo sobre lienzo oil on canvas, 54 x 51 cm Marcial, Alfonso y María, 2014-15 pencil, oil and collage of vegetal paper on paper, 229 x 141 cm Adrián y Miriam, 2014-15 pencil, oil and collage of vegetal paper on paper, 234,3 x 200 cm China y Japón, Yannan y Tamio, 2014 pencil, oil and collage of vegetal paper on paper, 235 x 141 cm Mujer, 2017, bronze, 165,5 x 42,5 x 37 cm Mujer de Almanzora,2017 Macael marble, 800 cm high, Ibáñez Cosentino Art Foundation. City of Culture Square, Olula del Río, Almería Rosas, 2020-2021 oil on canvas, 53,5 x 50,5 cm Gran Vía in process, oil on canvas, 130 x 120 cm

Antonio López García He was born in Tomelloso, Ciudad Real, on January 6, 1936, into a well-off farming family, a few months before the start of the Spanish civil war that began on July 17 with the army uprising. The war ended three years later, on April 1, 1939, and ushered in a long military dictatorship led by Francisco Franco that lasted thirty-seven years. Regardless, Antonio López remembers his childhood in the village as happy and peaceful. He began artistic training in his hometown with his uncle, the painter Antonio López Torres. During the summer of 1949, drawing became an increasingly pleasurable activity for Antonio. He spent hours copying plates that reproduced nineteenth-century paintings. After observing his drawing talent, his uncle guided him in his first drawings and paintings after nature. In October of that same year, his uncle convinced his parents to let him travel to Madrid to prepare for the entrance examination at the School of Fine Arts of San Fernando. With this aim in mind, Antonio worked primarily on drawing after statues; through copying casts at the Museum of Artistic Reproductions, then located in the Casón del Buen Retiro, and by attending the afternoon courses of the School of Arts and Crafts. ​ From then on, he met those who became his friends and principal generation colleagues. These were the brothers and sculptors, Julio and Francisco López Hernández, the painters Joaquín Ramo, Enrique Gran, and Lucio Muñoz, and the painter and writer Francisco Nieva, among others. Later, the painters María Moreno, Isabel Quintanilla and Amalia Avia joined the circle of friends. At fourteen, Antonio passed the entrance examination for San Fernando Arts School. There he completed the Fine Arts official curriculum between 1950 and 1955. After graduating in 1955, he travelled to Italy with Francisco López, thanks to a travel grant from the Ministry of Education. That same year, Antonio exhibited in the General Directorate of Fine Arts gallery along with Francisco and Julio López Hernández and Lucio Muñoz –the latter's style was already heading towards abstraction. After graduating, Antonio returned to Tomelloso and prepared his first solo exhibition at the Ateneo, in Madrid, in December 1957. It allowed him to settle back in Madrid. In 1958, he won the Still Life category of the Fine Arts competition of the Rodríguez Acosta Foundation. He used the institution's travelling scholarship to travel to Greece, again accompanied by Francisco López. Francisco did it using his resources, just like when they both went to Rome in the summer of 1955. Until 1960, Antonio lived between Tomelloso and Madrid, the two most meaningful places for him artistically and residentially. During this period, the happy memories of his childhood and adolescence in Tomelloso inspired him to create many works featuring the town and the things or people who accompanied him there. His works from that time are entirely figurative. He developed a variety of topics ranging from Still Lifes with some fantastic nature, cheerful plant motifs, and portraits full of strength and expression. He also developed a series of paintings in which the city or the landscape are the backgrounds of the figures and the Still Lifes. His artistic production during these years included elements of different artistic movements such as Cubism and Surrealism. The latter was the most frequent as it helped him reinforce the narrative character of the works. Sculpture already took up a substantial part of his output, which resulted in particularly striking polychromed reliefs and some expressive sculptures in the round, like those representing his daughter María as a child. ​ He began painting Madrid in 1960, where the city is the protagonist. It became a theme that has been a big part of his output throughout his career. The sixties marked his definitive step into objective reality representation, which occurred gradually. Over this period, he alternated works in which the focus was already an unadulterated reality with others in which surreal elements still appeared. In 1961, he received a grant from the Juan March Foundation. Years later, this institution incorporated Antonio's painting Figuras en una Casa (1967) into its collection. That same year, he married the painter María Moreno and presented his second solo exhibition at the Biosca Gallery in Madrid, then headed by Juana Mordó. A few years later, in 1964, he became represented by the newly opened "Juana Mordó Gallery" in Madrid. International contacts from this gallery provided Antonio with several exhibitions, especially in Germany and the United States. These shows helped his artworks become part of international collections and museums. Contemporary Spanish Realist Art aroused widespread interest in Germany, first by art dealer Ernesto Wuthenow. This appeal continued well into the eighties and crystallized in numerous group exhibitions. These included works by the painters Antonio López Torres, Isabel Quintanilla, María Moreno, the sculptor Francisco López, and Antonio López. Of note are the exhibitions devoted to international contemporary sculpture and painting held at the Carnegie Institute of Pittsburgh in 1964 and 1967. In addition, there was the 1964 New York World's Fair dedicated to Spanish art, sponsored by the Department of Fine Arts of Spain. ​ Between 1964 and 1969, he taught the Preparatory Course of Colour at the School of Fine Arts of San Fernando in Madrid. He left this chair to devote himself entirely to his career. However, he has continued to teach sporadically at various cultural institutions. ​ During the sixties, his works encompassed a variety of subjects: portraits of people around him, interiors, vegetal themes, and cityscapes, all painted directly from the motif. These works were often interrupted and resumed over an extended period. In the late sixties, drawing took up more time and space in his production. He created several autonomous drawings depicting the interiors and bathrooms of the places where his life and work occurred. Specifically, his deep dedication to drawing was crucial to his painting purging. His paintings' composition became more apparent as the paint coating gradually lightened. During this phase, he worked equally in all three artistic languages that helped him express and communicate his subjects: drawing, painting, and sculpture. ​ Throughout these years, Antonio López participated in numerous group exhibitions and a few solo shows. Of the latter, those organized by the Staempfli Gallery in New York in 1965 and 1968 were most prominent because they had a significant impact. Both exhibitions brought him international recognition while opening the way for his works into various American collections interested in Spanish Realist Art. This interest coincided with the rise of realistic and hyper-realistic styles in the United States. His next solo exhibition was outside Spain, at the Parisian gallery Claude Bernard in 1972. Over this period, he continued making drawings and oil paintings with intense realism in which the interiors and windows of his studio were the protagonists. Antonio worked exhaustively on these artworks over long periods, using different techniques and formats, and adjusting to reality, achieving precise light studies. ​ His solo exhibition at the Galatea Gallery in Turin sparked a positive reception of his art in Italy, where his work became part of several collections. Among the paintings in the exhibition were some from the late fifties with a surreal undertone. It also displayed various pictures from the sixties with a realistic approach and some polychrome bas-reliefs. Italian public found something familiar and appealing in the latter, given that this sculptural technique has been closely linked with Italian art since ancient times. Italian art influenced Madrid's realist artists, including Antonio López. With these artists, he had a strong bond of friendship and fellowship. Besides art, the Italian Neorealist Cinema of the forties impacted them profoundly because it captured reality with high fidelity and expressiveness. In their unadorned and without redeeming features representations of life, the Madrid Realists shared Neorealist cinema's objective and straightforward approach. In 1970, Antonio became represented by the Marlborough Gallery, which today remains his gallery. Three years later, Marlborough prepared a major collective exhibition devoted to Spanish Realism at its London headquarters. The show introduced the two main generations of Spanish Realist painters and sculptors of the time, including Antonio López. In 1974, he received the Darmstadt City Award for his double portrait in polychromed wood, Antonio y Mari (1968). The portrait belongs to the Städtische Kunstsammlung in that city that deposited it at the Hessisches Landesmuseum. A few years later, in 1983, he received the Gold Medal of Merit in the Fine Arts of Spain and the Pablo Iglesias Prize in the Visual Arts. 1985 was a significant year in Antonio López's career. The Juan March Foundation organized Antonio's first retrospective exhibition in Spain at the Albacete Museum. That same year, he was selected to represent Spain along with Eduardo Chillida and Antoni Tàpies in the Spanish art show "Europalia 85 Spain". This show was held in Brussels and other Belgian cities and resonated with critics. This year, he was also awarded the Prince of Asturias Award for the Arts, one of the most prestigious Spanish art prizes. In 1986, the Marlborough Gallery presented his solo exhibition at its headquarters in New York and London. Then, in 1990, the movie director Víctor Erice filmed the film The Quince Tree Sun, showing the creative process of Antonio López. After its release in 1992, the movie was awarded the Prize of the International Critics and the Jury Prize at the Cannes Film Festival of that year; together with the Golden Hugo for best fiction film at the International Film Festival Chicago 1992 and with the Award for Best Film of the decade by the Cinematheque Ontario in 1999. The Centro Nacional de Arte Reina Sofía Museum arranged his first major retrospective exhibition in 1993, showing almost his entire production. Displaying a hundred and seventy works that included drawings, sketches, paintings, and sculptures. This exhibition brought recognition to his work. He became a member of the Real Academia de Bellas Artes de San Fernando in Madrid that same year. Antonio was chosen for the exhibition "Identità e alterità", curated by Jean Claire, in 1995. First hosted at the Palazzo Grassi, then at the Museo Correr, both in Venice, Italy. Antonio was elected two years later to the Prado Museum board of trustees, a post he held until May 2009. Then, in 1999, the City Council of Valladolid commissioned Antonio López and Francisco and Julio López Hernández with a monumental bronze statue of the King and Queen of Spain seated. It was the first sculpture made as a group work by these three sculptors. The statue was installed in 2001 in the cloister of the Museum of San Benito in Valladolid - now the Patio Herreriano. In October 2001, the Centro Nacional de Arte Reina Sofía Museum organized a presentation to exhibit the pair of his sculptures, Hombre y Mujer, along with nineteen preparatory drawings, which had just become part of the museum collection thanks to the donation of Repsol YPF. In this manner, they joined three other significant works by Antonio López already in the museum's permanent collection: Los novios (1955), Madrid desde el Cerro del Tío Pío (1962-1963) and Madrid desde Capitán Haya (1987-1994). In recent years this institution has acquired other notorious pieces of the artist. In 2004, in recognition of his work, he was appointed Honorary Member of the American Academy of Arts and Letters in New York. In July, he received the Medal of Honour from the Menéndez Pelayo International University and, in September, the City of Alcalá de Henares Arts Award. In 2006, he installed the largest urban painting he has made to date, Madrid desde la torre de bomberos de Vallecas, in the Madrid Assembly, which exceeds four meters wide and represents almost the entire surface of the city seen from the Fire Tower in Vallecas. In addition to documenting the city, thus depicting its most characteristic buildings with the definition that this aim required, it also includes a substantial study of the light and the sky, which do not escape pollution, thus achieving a truthful and recognizable image of Madrid. In June of that year, he received the Velázquez Prize for Plastic Arts, the highest honour in the Fine Arts conferred by the Government of Spain. In 2008, he completed his first solo public sculpture commission: two monumental bronze heads three meters high representing his baby granddaughter. These works, El Día y La Noche, were then installed in their first location at Atocha station in Madrid - the entrance hall to the train platforms. They are currently outside the station. These sculptures inspired him to work on different sculptural works focused on the human figure. In April 2008, the Museum of Fine Arts in Boston dedicated to Antonio a solo exhibition that garnered him international critical acclaim. In parallel, the museum hosted a historical show dealing with Spanish art during Philip III's reign: El Greco to Velazquez. Art During the Reign of Philip III. In February 2010, he received the Penagos Drawing Prize from the Mapfre Foundation in Madrid. In October of that same year, La mujer de Coslada, his second public sculpture, was inaugurated on the Avenue of La Constitución of that Madrilenian municipality. The Thyssen-Bornemisza Museum opened Antonio's solo exhibition in June 2011. This exhibit brought together a retrospective view of his work and the presentation of his latest creations, which had not yet seen the light. From October 2011 to January 2012, this show was also displayed at the Bilbao Fine Arts Museum, confirming the enormous interest his work aroused among the public and critics, both nationally and internationally. Success continued with his travelling exhibition held at several museums in Japan during 2013, starting on April 27 at the Bunkamura Museum of Art in Tokyo. The following year, Vittorio Sgarbi invited him to participate in the renowned Festival La Milanesiana 2014, which dedicated to him a special exhibition in which his painting La Cena and its preparatory drawing were exhibited in front of Caravaggio Supper at Emmaus, thus enabling a new reading of these works. ​ In December 2014, Antonio delivered the painting La Familia de Juan Carlos I (The Family of Juan Carlos I). A complex work that required dedication, and he worked intermittently for twenty years. It is a painting of significant magnitude, not only because it is a portrait of the Royal Family, which links it to Spanish monarchy portraits painted by artists from past centuries, but also due to its large size - 300 x 340 cm. In this painting, the artist incorporated countless hours of effort into the composition by working from photographs instead of drawing from life. This picture was shown to the public at an exhibition about royal portraiture organized by Spanish National Heritage at the Royal Palace of Madrid. The exhibition was entitled El Retrato en las colecciones reales. During the same month, a solo show was dedicated to him in Vicenza, Italy, under the title "Antonio López García. Il silenzio della realtà, La realtà del silenzio", lasting nearly three months. While it had some retrospective character, the spotlight focused on his sculptures and various recent oil drawings, both dealing with the naked human form. Antonio López showed his latest work to the Italian public more than forty years after his last solo exhibition there. They gave him a warm welcome. In parallel and in the same city, an exhibition dedicated to the night was held: Tutankhamon, Caravaggio, and Van Gogh. La será e i notturni dagli Egizi al Novecento. In addition to works by Zurbarán, Van Gogh, Rothko, and Francis Bacon, Antonio López contributed four artworks to the exhibit. ​ In February 2016, the Thyssen-Bornemisza Museum in Madrid exhibited Realistas de Madrid, a show about figurative artists from the fifties and sixties who worked in Madrid. This exhibit was a new opportunity for the public to see Antonio's work, along with that of his fellow artists Isabel Quintanilla, Francisco and Julio López, María Moreno, Amalia Avia and Esperanza Parada, thus providing a comparison between their different attitudes regarding themes and technique, but also to see their points of convergence. In September 2017, his most extensive public sculpture to date, La mujer del Almanzora, was erected between the Casa Ibáñez Museum and the Pérez Siquier Center in Olula del Río, Almería. He published his first artist book, Cuerpos y Flores, with Artika Publishing House on the same date. In October of the same year, he received the title of Honourary Academician from the Royal Academy of Fine Arts of San Carlos de Valencia. The following year, he was awarded several prizes: Doctor Honoris Causa from the Complutense University, Madrid; the Medal of Honour from Carlos III University, Madrid, and the Collegiate of Honour from the Madrid College of Architects. ​ On April 26, 2019, an individual exhibition opened at Silos Monastery. While focusing on some of his latest flower works, including a large part of his Rosas de Ávila series, it also fitted some of his representations of children. This selection gave an intimate and contemplative character to the show. After almost six months, it closed on October 13, 2019. ​ On February 17, 2020, his wife, the painter María Moreno, died at 86. In September 2020, the Bancaja Foundation in Valencia opened a retrospective exhibit curated by Tomás and Boye Llorens. The show included a wide choice of recent and in-process works by Antonio. The exhibition also displayed a selection of works by María Moreno in two rooms. Although the show coincided with the Covid-19 pandemic, it was developed with the necessary measures and restrictions, achieving an excellent turnout that enabled its extension until February 28, 2021. From April 19 to June 20, 2021, the Region of Madrid government dedicated a tribute exhibition to Antonio. His monumental sculptures, Carmen Awaken and Carmen Asleep, were displayed on the patio of the institution's headquarters in the Real Casa de Correos at Puerta del Sol Square, Madrid. ​ In February 2023, on the occasion of the ARCO art fair, El Corte Inglés paid tribute to Antonio by holding an exhibition of his sculptures in the windows of its building on Calle Preciados in Madrid. It is the same building from which he paints the Gran Vía Flight every summer. At the same time, El Corte Inglés dedicated the ARCO stand to him. A six-meter wide reproduction of his painting Madrid Sur, finished in 2022, occupied all the space. ​ The same year, he collaborated with the Teatro del Liceu in Barcelona in the production of Franz Schubert's Winterreise recital. Tal Rosner used photographs of Antonio's artworks in a video that served as the scenery for the concert under Bárbara Lluch, the stage director, held in the former Model prison in Barcelona on March 23, 24 and 25. In addition, the Liceu organized an individual exhibition in the fifth gallery of the ex-jail, converted into a cultural centre, that lasted three weeks. Antonio's works were displayed inside prison cells, giving them new meaning and context. ​ Source: Based on the biography published in the TF 2011 book, reformed, expanded and translated by Beatriz Hidalgo Caldas Date: April 2023 Anchor 1

DOSSIER OF MONUMENTAL SCULPTURES; CARMEN AWAKE AND CARMEN ASLEEP Anchor 1

digitisation of the film THE QUINCE TREE SUN ​ The process of digitisation of the movie has been conducted at the Fillmoteca de Catalunya, where the 35mm negatives of the original film have been scanned at 6K and the sound has been also digitised from the analog magnetic tracks. Thanks to this digitization, of such high quality, scenes shot on video have gained in image quality. ​ The procedure began in the summer of 2016 and took around a year to be completed under the direct supervision of the director of the film, Víctor Erice, who took the chance to review and subtly change the montage, by reducing its length in 5 minutes. ​ This new montage was presented in May 2017 at the Cannes Film Festival, coinciding with the twenty-five years of the appearance of the film at the festival. ​ BHC ​ ------------------------------------------------------------------------------------- World rights of the film owned by CAMM CINCO S.L.: estudioantoniolopez@gmail.com ​ ​ To find out about Mr. Víctor Erice's workshops, please go to the following website: https://www.rosebudtalleresdecine.com ​ Digitalización El sol del membrillo Centro de Restauración de la Filmoteca de Cataluña Estudio de sonido de la Filmoteca Parte del equipo de la digitalización de la película en la Filmoteca de Cataluña Escáner digital Centro de Restauración de la Filmoteca de Cataluña Digitalización El sol del membrillo Centro de Restauración de la Filmoteca de Cataluña 1/5 Anchor 1

Antonio López García (Tomelloso, Ciudad Real, 1936) He began his training under his uncle, the painter Antonio López Torres. In 1949, he travelled to Madrid to prepare for the entrance exam to the School of Fine Arts of San Fernando. Antonio enrolled there between 1950 and 1955. In 1955, he obtained a travel grant from the Ministry of Education to travel to Italy. Later, in 1958, Antonio won the Fine Arts competition of the Rodríguez Acosta Foundation in the Still Life category. For this, he received a scholarship to travel to Greece. He goes on both trips in the company of his friend, the sculptor, Francisco López, who travels by his means. ​ After graduating, his production included elements of different artistic movements such as Cubism and Surrealism, the latter being the most frequent as it helped to reinforce the narrative character of several of his works. From the sixties, he began to abandon the oneiric component while gradually developing a more objective approach. His motifs are then portraits of people around him, interiors, still lifes and cityscapes that serve as background to the still lifes and to the scenes with figures. His sculptural work runs parallel to his paintings and drawings, thus making reliefs in different materials and his first exempt pieces. Between 1964 and 1969, Antonio taught the Chair of Preparatory of Colouring at the School of Fine Arts of San Fernando. Afterwards he has given courses occasionally, while devoting himself entirely to artistic creation. ​ He has participated in numerous group shows and has been the subject of several solo exhibitions. Among them stand out for their impact those held in the Staempfli Gallery in 1965 and 1968, and in the Marlborough Gallery (New York and London) in 1986. In 1985, he represented Spain in Europalia 85 , Brussels, along with the artists Eduardo Chillida and Antoni Tàpies. ​ A few years later, in 1990, film director Víctor Erice filmed the feature film The Quince Tree Sun , focused on the creative process of Antonio López, which was later awarded the 1992 International Critics Prize and the Juty Prize at the Cannes Film Festival, the 1992 Gold Hugo to the Best Feature Film at the International Film Festival of Chicago, and the Award for Best Foreign Film at the Montreal Film Festival, Canada, in 2000. ​ In 1993 he had his first retrospective exhibition at the Museo Nacional Centro de Arte Reina Sofía, which met with a favourable reception from the public and critics. In 1995, he was selected to take part in the exhibition Identità e alterità , curated by Jean Claire, first hosted at the Palazzo Grassi and then at the Museo Correr, both in Venice, Italy. A few years later, in 1999, the City of Valladolid commissioned Antonio López and the sculptors Francisco and Julio López Hernández a monumental sculpture of the King and Queen of Spain, which was inaugurated in 2001 in the Cloister of San Benito, Valladolid. In October 2001, the Museo Nacional Centro de Arte Reina Sofía celebrated the acquisition of the sculptures Hombre y Mujer (Man and Woman) and nineteen of their preparatory drawings with a small exhibition and the publication of a book on these pieces. These artworks thus joined with three other important works of Antonio López already in the permanent collection of the museum. ​ In 2006, Antonio presented at the Madrid Assembly his largest urban painting he has made to date, Madrid desde la torre de bomberos de Vallecas (Madrid from the tower of fire of Vallecas), which exceeds four meters wide and represents almost the entire surface of the city from that point. In 2008, he finished his first solo public commission of a monumental sculpture; two monumental bronze heads of three meters high, El día y La Noche (Day and Night), located outside Atocha station in Madrid. In April 2008, the Museum of Fine Arts, Boston, dedicated him a solo show in parallel to a historical exhibition that addressed Spanish art during the reign of Philip III: El Greco to Velazquez. Art During the Reign of Philip III . In October 2010, his second public sculpture, La mujer de Coslada (Woman of Coslada), was inaugurated at the Avenue of La Constitución in the Madrid municipality of Coslada. ​ In June 2011, an individual exhibition that combined a retrospective character with the presentation of his latest work that had not yet seen the light was inaugurated at the Thyssen-Bornemisza Museum, Madrid. This exhibition, on display from June to September 2011, also travelled in October of that year to the Bilbao’s Fine Arts Museum, where it remained until January 2012. The following year, a solo roaming exhibition of his work travelled to several museums in Japan, starting on April 27 at the Bunkamura Museum of Art in Tokyo. ​ In 2014, he was invited by Vittorio Sgarbi to participate in the famous Festival La Milanesiana, in which a special exhibition was organized presenting his painting La cena (The Supper) and its preparatory drawing opposite to Caravaggio’s Supper at Emmaus , thus enabling a new reading of these works. In December of that year, he delivered the painting La Familia de Juan Carlos I (The Family of Juan Carlos I), a large-format work of 300 x 340 cm that has become part of the collections of Spain’s National Heritage. This work was presented in the context of an exhibition about Royal Portraiture held at the Royal Palace of Madrid: El retrato en las colecciones reales. De Juan de Flandes a Antonio López . During the same month, there were inaugurated in Vicenza, Italy, a pair of exhibitions in which Antonio took part: a solo show, Antonio López García. Il silenzio della realtà. La realtà del silenzio , and a group exhibition dedicated to the night, Tutankhamon, Caravaggio, Van Gogh. La será e i notturni dagli Egizi al Novecento , which featured works of great international artists from the past and contemporary including Zurbarán, Van Gogh, Rothko or Francis Bacon. Thus, after more than forty years since his last solo exhibition, Antonio López showed his latest work to the Italian public, which gave him a great welcome. The work of Antonio meets again with the Madrid public in February 2016, on the inauguration of an exhibition at the Thyssen Museum about the group of Madrid Realists, in which the artist is usually classified alongside those who have been his colleagues and friends from his formative years: Isabel Quintanilla, Julio and Francisco López, Maria Moreno, Amalia Avia and Esperanza Parada. ​ In September 2020, a retrospective exhibition is inaugurated at the Bancaja Foundation in Valencia, which includes a wide selection of recent and in-process works. The exhibition, curated by Tomás and Boye Llorens, also shows a selected selection of works by María Moreno.The following year, the Community of Madrid dedicated an exhibition tribute to him in which his monumental sculptures, Carmen awaken and asleep , are shown at the Real Casa de Correos de Madrid. ​ On the occasion of the ARCO art fair in 2023, El Corte Inglés dedicates an exhibition to Antonio in the windows of his building on Calle Preciados in Madrid. In addition, he starred on the El Corte Inglés stand at ARCO, with a monumental reproduction of his Madrid Sur, which was completed in 2022. In March 2023, he collaborated with the Teatro del Liceu in Barcelona in the show of Franz Schubert's Winterreise recital. The Liceu simultaneously organized an individual exhibition for him in gallery 5 of the former Modelo prison, providing a unique context for his works. ​ During his career he has received numerous awards and nominations among which are: the Gold Medal of Fine Arts (1983), Pablo Iglesias Prize (1983), Prince of Asturias Award for the Arts (1985); Full Member of the Real Academia de Bellas Artes de San Fernando (1993); Patron of the Museo del Prado (1998- 2009); Honorary Member of the American Academy of Arts and Letters in New York (2004); Medal of Honour (2004) of the Menendez Pelayo International University of Santander; Alcalá de Henares Ciudad de las Artes Prize (2004); the Velázquez Visual Arts Prize (2006); the Gold Medal of Fine Arts of the City of Madrid (2010); Honorary Academician of the Royal Academy of Fine Arts of San Carlos de Valencia (2017). ​ Works and lives in Madrid. April 2023 Studio of Antonio López, updated by Beatriz Hidalgo Caldas Anchor 1

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Works in progress. A Space for Dreams

CONFERENCES/WORKSHOPS NOTICE OF CANCELLATION OF THE WORKSHOPS: ​ The workshops taught by Antonio have been cancelled with no scheduled restart date. Therefore, this website will no longer provide information or notices about any possible course that may occur in the future. ​ If Antonio were to teach a workshop in the future, the institution organizing it would announce it by its own means and not through this website. Anchor 1