INTERACTIVE MAP Click on the map browser to see the points from which Antonio has painted his views of Madrid and Tomelloso; as well as the location of his monumental sculptures in different locations. Currently only views of Madrid are available, as well as its monumental sculptures scattered throughout Spain. ​ Anchor 1

Sculpture ​ On May 11, 2010 Antonio López explained to Madridiario what the casting process entails through the making process of his sculpture La mujer de Coslada . Although unknown to much of the public, his sculptures are a large part of his artistic output and to which he has devoted much of his time. http://www.youtube.com/watch?v=Jf387R6sBzE

Anchor 1 AWARDS AND HONOURS: 1949 Provincial Painting Awards from Educación y Descanso, Ciudad Real ​ 1950 Special Award (Artistic Drawing) from the School of Arts and Crafts, Madrid ​ 1950–51 Prize for Drawing from the Antique and of Drapery, Academy of Fine Arts of San Fernando, Madrid Drawing Prize, Academy of Fine Arts of San Fernando, Madrid ​ 1951–52 Prize for Life Drawing, First Course at the Academy of Fine Arts of San Fernando, Madrid Carmen del Río’s Painting Award at the Academy of Fine Arts of San Fernando, Madrid ​ 1952–53 Estado’s Award for Colouring and Composition, First Course at the Academy of Fine Arts of San Fernando, Madrid Carmen del Río’s Painting Award at the Academy of Fine Arts of San Fernando, Madrid ​ 1953–54 Madrigal’s Award for Colouring and Composition, Second Course at the Academy of Fine Arts of San Fernando, Madrid Bursary Award El Paular for the Course of Landscape at the Academy of Fine Arts of San Fernando, Madrid ​ 1955 Travel Grant to Italy from the Ministry of Education (III National Competition for Plastic Artists), Spain ​ 1957 Jaén County Council Award from the National Exhibition of Fine Arts, Spain ​ 1958 Molino de Plata Award from the Regional Exhibition of Valdepeñas, Spain Still Life Award from the Fundación Rodríguez Acosta, Granada, which consisted in a travel bursary that he used to visit Greece Travel bursary from the Ministry of Education, Spain, which he used to travel to Rome ​ 1959 Molino de Plata Award from the Regional Exhibition of Valdepeñas, Spain ​ 1961 Scholarship from the Fundación Juan March, Spain ​ 1965 National Architecture Prize, Spain, shared with the Architect Heliodoro Dols given it was a joint work ​ 1974 Prize of the City of Darmstadt, Germany ​ 1983 Pablo Iglesias Award, Madrid Gold Medal of Merit in the Fine Arts, Spain ​ 1985 Prince of Asturias Award for the Arts, Ministry of Culture, Spain Golden ABC, Madrid ​ 1986 Gold Medal of Castilla La Mancha, Spain ​ 1990 Gold Medal of the Community of Madrid, Spain ​ 1992 Tomás Francisco Prieto Award from the Mint House, Madrid ​ 1993 Fellow of the Royal Academy of Fine Arts of San Fernando, Madrid ​ 2003 Prize of Plastic Arts and Architecture of El Mundo and the Community of Castilla La Mancha ​ 2004 Medal of Honour from the Menéndez Pelayo International University, Santader City of Alcala de Henares Award for the Arts, Spain Honorary Member of the American Academy of Arts and Letters, New York ​ 2006 Velázquez Prize for Plastic Arts, Ministry of Culture, Spain ​ 2009 Penagos Drawing Prize of the Mapfre Foundation, Madrid ​ 2010 Gold Medal of the City Council of Madrid ​ 2011 Doctor Honoris Causa Degree by the University of Navarra ​ 2012 Prince of Viana Award of Culture, Navarra International Medal of Arts of the Community of Madrid ​ 2013 Honorary Member of the University Faculty of Arts, University of Alcalá, Madrid ​ 2014 Doctor Honoris Causa Degree by the University of Murcia 2014 Rosa d’Oro della Milanesiana Award, Milan, Italy ​ 2015 Medal of the Faculty of Fine Arts of the University of Seville 2015 Fuera de Serie Arts Award, Expansión, Spain Raíces de Europa Award, Spain ​ 2017 Gold Medal of the Reial Cercle Artístic de Barcelona, Spain Honorary Academician of the Royal Academy of Fine Arts of San Carlos, Valencia Averroes Gold Award City of Córdoba 2017 to the Arts, Spain ​ 2018 Doctor Honoris Causa Degree by the Universidad Complutense, Madrid Medal of Honor by the University Carlos III, Madrid Honour Member of the Association of Architecture of Madrid (COAM) ​ 2019 Fundación de Fomento Europeo Prize, Barcelona ​ 2020 Award Florencio Galindo de las Letras, Ávila ​ 2021 Honour Member of the Institución Gran Duque de Ávila, Diputación de Ávila 2022 XVI Sport Cultura Barcelona Awards, Fundación RBA, Barcelona ​ ​ [July, 2022]

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

The selected bibliography of Antonio López included in this section is divided into four blocks: First, the texts about his work that appear in catalogues of individual and group exhibitions; secondly, in books on different subjects; thirdly, newspaper articles and, finally, his own texts. The copyright of the document belongs to the Studio of Antonio López. Any information extracted from this document must be quoted or acknowledged following international directions and mentionig the authorship of the Studio of Antonio López. To open the document in full-screen, please click on the image below or use the sidebar to scroll through the pages: Anchor 1

Chronology of Antonio López García 1936 1948 ​ ​ 1949 1950 ​ 1955 ​ ​ 1956-57 1958 1959-60 1961 1964 ​ 1965 1966-69 1968 ​ 1970 ​ 1972 ​ 1974 ​ 1970-75 ​ ​ ​ 1975-1982 ​ ​ ​ ​ 1983 ​ ​ ​ 1985 ​ ​ ​ ​ ​ ​ ​ ​ ​ 1985 ​ ​ ​ 1986 ​ ​ ​ 1990 ​ ​ ​ ​ 1991 ​ ​ ​ ​ ​ ​ ​ 1992 ​ 1993 ​ 1994 Born on January 6, in the Castillian village of Tomelloso to a well-to-do family that makes its living from cultivating their land and vines. The Spanish Civil War breaks out triggered by the military upheaval of July 17, which led to a successful coup d’état. War ends on April 1, 1939, giving way to a military dictatorship under General Francisco Franco. Notwithstanding this, his childhood in the village is peaceful and happy. ​ Still a child, he starts drawing by copying engravings depicting nineteenth-century paintings . During the summer his uncle, the painter Antonio López Torres , initiated him in painting. He teaches little Antonio the importance of painting from life by placing the motif right in front of him; first to draw it and then to paint it in oil. In October, despite his young age, 13 years old, and thanks to the mediation of his uncle, Antonio López's parents agree to let him go to Madrid to prepare for his admission into the School of Fine Arts of San Fernando. ​ To prepare for the entrance examination to the School of Fine Arts, he goes daily to the Museum of Artistic Reproductions, located in the Casón del Buen Retiro, to copy plaster casts after antique sculptures and, in the afternoons, to the School of Arts and Crafts. In June 1950, at age 14, when Antonio passes the entrance exam to join the School of San Fernando, he experiences one of the happiest moments of his life. Completes his Fine Arts studies in San Fernando in 1955, winning several awards in the School competitions. During these years he meets those who will become his closest friends and his future wife: Enrique Gran, Lucio Muñoz, Francisco and Julio López, Joaquín Ramo, Francisco Nieva, Amalia Avia, Isabel Quintanilla and María Moreno. Before terminating his studies in January, he takes part in one of his first group exhibitions organized by the General Directorate of Fine Arts along with three of his friends, Lucio Muñoz and Francisco and Julio López. In May, he gets a travel grant by winning a contest of the National Education Delegation, which he uses in the summer of that same year to go touring Italy for a month with his friend and colleague, the sculptor Francisco López. From his formative stage, he began to search for his language and tried various resources, being those of a surreal nature that would appear in many of the paintings of his first production. The landscapes of this period are usually inhabited by figures or by Still Lifes. Although he already paints cheerful vegetable themes, figures are the protagonists of much of the works he produces during these years. ​ ​ Given the difficulty of settling in the capital, he lives between Madrid and Tomelloso. Antonio López García and his time, his first solo exhibition, is held at the Ateneo de Madrid in December 1957. Wins the Still Life section of the annual Fine Arts competition of the Rodríguez Acosta Foundation in Granada with the work "In the kitchen", thus getting a travel grant that he uses to visit Greece accompanied again by Francisco López. Together they will also visit Rome thanks to another scholarship obtained by Antonio from the Ministry of Education. ​ Lives between Madrid and Tomelloso until 1960, thus becoming both places the background of his paintings. From that year on, Madrid turns into the main character of several of his paintings and will no longer disappear from his themes. At that time, he is beginning to develop his sculptural activity that will occupy a large part of his production in the coming years. He exhibits individually at the Biosca Gallery in Madrid, then run by Juana Mordó, who would later become his art dealer. This show receives rave reviews and sells several of his artworks to Spanish collectors. ​ Marries the painter María Moreno . ​ Joins the roster of artists at the new Juana Mordó Gallery, which is opened on March 13th with a group exhibition featuring works by them all. From that moment on, and thanks to the international connections of the gallery, he participates in numerous foreign group exhibitions, particularly in the United States and Germany. In the latter, there is a growing interest in the so-called Spanish Realism, which results in the organization of various group shows until the eighties. Many of these exhibitions include the work of Antonio López, Francisco López, Isabel Quintanilla, and María Moreno. In 1964, he begins teaching at the School of Fine Arts of San Fernando in Madrid, continuing several courses until 1969. ​ His first solo show in North America takes place at the Staempfli Gallery in New York, being organized with the help of his Spanish gallery, Juana Mordó. This exhibition, very well received by the public and critics, leads to the sale of some of his works to various American collections. Gradually begins to purge his works of surrealist elements to gain a more objective approach, closer to reality. Interiors bare of figures appear in both his paintings and drawings, choosing very often workrooms and bathrooms to feature his drawings. On the other hand, the figures represented in his artworks often belong to his intimate circle, which is a permanent characteristic of his work. Exhibits for the second time in the gallery of George Staempfli, coinciding with the booming of Realism and Hyper-realism styles in the United States and reaping rave reviews again. Begins one of his most important sculptures: Hombre y mujer (Reina Sofía Museum). Antonio begins to be represented by Marlborough Gallery, New York, USA. Exhibits individually both in Galatea Gallery in Turin, Italy, and Claude Bernard Gallery in Paris, France. Is awarded the Prize of the City of Darmstadt, Germany. Continues to represent interiors to which he adds windows seen from inside and even some figures, like in the drawing depicting his uncle at his house, Casa de Antonio López Torres (1972-1975). This way, he broadens the subject matter of realism, to which he also contributes a new vision of some motifs like the places in the house, incorporating the toilet and the kitchen, but devoid of characters. His interest in the human habit of eating leads Antonio to render it in both drawings and oil paintings, thus producing one of his most representative works on the subject, the painting La Cena (1971-1980). During these years, his work is also exhibited in major international group shows as Contemporary Spanish Realists at the Marlborough Gallery, London (1973) and Realismus und Realität at the Kunsthalle Darmstadt, Germany (1975). Throughout this period, he works on some of his most important pieces, especially in some of his most famous sights of Madrid as Gran Vía (1974-1981) or Madrid desde Torres Blancas (1974-1982), as well as in the sculptures Hombre y Mujer (1968-1994). Keeps working on the theme of the window seen from inside, starting several paintings depicting this subject at different times of the day.. Is awarded the Gold Medal of Merit in Fine Arts and the Pablo Iglesias Prize. ​ The Juan March Foundation organizes his first retrospective exhibition at the Museum of Albacete, arousing great interest among the public and the critics. Is honoured with the "Prince of Asturias" Award for the Arts. Becomes one of the three artists selected to represent Contemporary Spanish Art and exhibit individually in Europalia 85, Brussels, being the other two Antoni Tàpies and Eduardo Chillida. His work receives a lot of press attention. ​ Is one of the three artists selected to represent Contemporary Spanish Art and exhibit individually in Europalia 85 , Brussels. The other two artists are Antoni Tàpies and Eduardo Chillida. His work gets a lot of press attention. Exhibits again individually in New York, but this time in the gallery that represents him then, Marlborough Gallery, where he will exhibit on few occasions. A few months later, this show travels to the gallery's London headquarters. ​ He shoots El sol del membrillo in his own house under the direction of Víctor Erice, a film that portrays his creative process and in which some members of his family and friends appear. This film, released in 1992, garners good reviews and awards, among which stands out the Jury Prize of the Cannes Film Festival (1992). ​ Antonio takes part in a group exhibition, Otra Realidad. Compañeros en Madrid, curated by Javier Tusell and María José Salazar. This show, organized by Fundación Humanismo y Democracia with the collaboration of Caja Madrid, displays his works are along with those of his colleagues and friends, who practiced both figurative and abstract trends. It marks a turning point in the understanding of the figurative painting done in Madrid from the fifties onward. ​ Receives the Award Tomás Francisco Prieto from Madrid Mint, for which he is commissioned a series of coins in gold, silver, and bronze. Chooses a man and a hare as motifs for each of the sides of the coins. ​ In May 1993, a major retrospective exhibition of his work opens at the Museo Nacional Centro de Arte Reina Sofía, Madrid, featuring 170 artworks, including paintings, sculptures, and drawings. With this show, Antonio achieves definitive recognition from the public and critics. He is named Honorary Member of the Royal Academy of Fine Arts of San Fernando de Madrid. ​ Fundación Focus in Seville organises an exhibition that explores his creative process: Antonio López, proceso de un trabajo. ​ 1995 ​ 1998 ​ 1999 ​ ​ ​ 2001 2004 ​ 2006 2008 2010 ​ ​ ​ ​ 2011 ​ 2013 2014 ​ ​ ​ ​ ​ ​ 2015 ​ ​ ​ ​ ​ 2016 ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ 2017 ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ 2018 ​ ​ ​ ​ ​ ​ 2019 ​ ​ ​ ​ ​ 2020 ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ 2021 ​ ​ ​ ​ ​ ​ ​ 2023 He is selected to take part in the exhibition Identità e alterità, curated by Jean Clair, first hosted at the Palazzo Grassi and then at the Museo Correr, both in Venice, Italy. He is appointed member of the Royal Board of Trustees of the Museo Nacional del Prado , a position he will hold until 2009. The City Council of Valladolid commissions him and the sculptors Francisco and Julio López Hernández, a monumental sculpture of the King and the Queen of Spain. This statue is unveiled in 2001 in its current location: the Monastery of San Benito in Valladolid. The sculptures Man and Woman (1968-94) are presented at the Museo Nacional Centro de Arte Reina Sofía (1968-94), accompanied by nineteen preparatory drawings, on the occasion of having entered the entire set in the museum's collection as a gift from Repsol YPF. These sculptures were acquired from the North American collector Dorothy C. Weicker, who, in turn, had bought them in 1975. He is named Honorary Member of the American Academy of Arts and Letters in New York . This same year he receives two other distinctions: the Medal of Honor from the Menéndez Pelayo International University of Santander and the City of Alcalá de Henares Prize for the Arts. He presents his largest format painting at the Madrid Assembly : Madrid from the Vallecas fire tower (1990-2006), which is more than four meters wide. This work has been transferred to this institution by the Caja Madrid Special Foundation. In June of this year, he received the highest award for Fine Arts in Spain and Latin America: the Velázquez Prize for Plastic Arts. His first public monumental solo sculptures, El Día y La Noche, are installed at Madrid Atocha Station. Another pair of bronze heads inspired by these public sculptures, Carmen awake and Carmen asleep, are placed in April at the Fine Arts Museum in Boston, coinciding with the individual exhibition dedicated to her in parallel to a large show on Spanish art by the Modern Age: El Greco to Velázquez. Art during the Reign of Philip III, curated by Ronni Baer. He is awarded the Gold Medal of the Madrid City Council, a city ​​that he has managed to represent with great veracity in his paintings. He receives the Penagos Drawing Prize from the Mapfre Foundation. His monumental sculpture La mujer de Coslada , commissioned by the City of Coslada, was inaugurated on Avenida de la Constitución in this Madrid municipality. In June, the Thyssen-Bornemisza Museum in Madrid inaugurates a large exhibition that combines retrospective character while revealing a large part of the production it had produced in the last eighteen years, since its previous solo exhibition in Madrid, which it had had place in 1993 at the Reina Sofía. The exhibition organized by the Thyssen, titled Antonio López , traveled in October 2011 to the Bilbao Fine Arts Museum. This sample had long been awaited by the public, who came breaking records to visit it. Critics, both inside and outside Spain, make a very positive assessment of the exhibition and the works presented there. Japan's interest in his work has always borne fruit in a traveling solo exhibition through three museums in three major cities in the country: Tokyo, Nagasaki and Iwate. He is invited to participate in the La Milanesiana festival in Milan, where his work La cena, accompanied by his preparatory drawing, is shown in front of Caravaggio's La cena en Emaús at the Pinacoteca de Brera In December he delivered the portrait of The Family of Juan Carlos I, within the framework of an exhibition dedicated to the history of the monarchical portrait in Spain organized by National Heritage at the Royal Palace of Madrid: The portrait in the royal collections. From Juan de Flandes to Antonio López. After the exhibition it becomes part of the permanent Heritage collection, being installed in its facilities. During the same month, two exhibitions in which he participates are inaugurated in Vicenza, Italy: an individual exhibition dedicated to his figure - Antonio López García - and a large group exhibition dedicated to the night - Tutankhamun, Caravaggio, Van Gogh. The will be ei notturni dagli Egizi al Novecento -, with works by great international artists of past and contemporary centuries, including Zurbarán, Van Gogh, Rothko and Francis Bacon,. He exhibits individually at the Sala Robayera in Miengo, Cantabria during the month of August. In October, a selection of his latest pieces combined with some works from previous stages is presented at the Barcelona Marborough Gallery within the framework of the Barcelona Gallery Weekend. During the months of February and May, the Thyssen Museum in Madrid dedicates an exhibition to the group of artists who have practiced a realistic art, or New Figuration, since the 1950s in that city. This is part of the group of friends and colleagues that Antonio López met during his formative years: Francisco and Julio López, Isabel Quintanilla, Amalia Avia, María Moreno and Esperanza Parada. Works by all of them, as well as by Antonio, are seen together allowing their comparison in the context of their long careers, thus exposing both their connection points and their stylistic and technical differences. ​ The Carmen Thyssen museum in Malaga presents the exhibition The essence of reality in April, which explores the history of realist art in Spain, from the 17th century to the present day, paying special attention to the last half century. In June, the Reial Cercle Artístic de Barcelona presented him with the Gold Medal in recognition of his career and artistic merits. ​ In September of this same year, Antonio López presented his first artist's book: Bodies and Flowers, made by the Artika publishing house, where both subjects are addressed and illustrated throughout his career. On the 11th of the same month, it's oficially opened another of his public sculptures, La mujer de la Almanzora , at the Casa Ibáñez de Olula del Río Museum in Almería. In October the Academy of Fine Arts of San Carlos de Valencia. names him the title of Academic of Honour. The itinerancy of the exhibition The Poetics of Abstraction and Figuration through various Euroean Cervantes Institutes begins in Prague and Antonio participates with two works. After touring for different countries, it concludes at the New York headquarters of the Cervantes Institute of New York in September of 2019. ​ This year he receives several distinctions: Doctor Honoris Causa from the Complutense University of Madrid; the Medal of Honour from the Carlos III University and the Collegiate of Honour from the Madrid College of Architects. ​ Between April 26 and October 13, it was opened to the public an individual exhibition of Antonio at the Silos Monastery, focusing on some of his latest works of flowers, including much of his Rosas de Ávila series, and children, giving to the show an introspective and contemplative approach.. ​ On February 17, his wife, María Moreno, died. He continues to work on the series he had started on her, with which he pays tribute to her. ​ 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 in Madrid. ​ On ARCO 2023 art fair, as a tribute, El Corte Inglés devotes an individual exhibition to Antonio in the windows of its building on Calle Preciados in Madrid. Collaborates with Teatro Liceu in Barcelona on the production of the Winterreise recital of F. Schubert. Antonio lends images of his works to the stage director Bárbara Lluch and her team, who utilised them in a video used as scenery for the concert on the 23rd, 24th and March 25th. Concurrently, this institution arranges an exhibition of his work in the old Model prison in Barcelona for three weeks The La Pedrera Foundation inaugurates a retrospective exhibition of Antonio's work at its headquarters in Barcelona, Gaudí's Casa Milà. It can be visited for 4 months, before traveling to the Drents museum in the Netherlands in January 2024. ​ ​ ​ ​ Beatriz Hidalgo Caldas Anchor 1

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. ​ Antonio's first retrospective exhibition in Catalonia opened on September 21, 2023, at the La Pedrera Foundation headquarters in Gaudí's Casa Milà. The show included more than one hundred pieces from the beginning of his career to the present. Among the latter, he showed some paintings depicting his home, still in progress, alongside a sculpture on the same theme. ​ 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

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. In September of the same year, the La Pedrera Foundation of Barcelona inaugurated a retrospective exhibition of Antonio's work at Gaudí's Casa Milà. It was hosted for four months, before traveling to the Drents Museum in the Netherlands in January 2024. ​ 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

Works in progress. A Space for Dreams

THE QUINCE TREE SUN ​ The Quince Tree Sun was filmed during the fall of 1990 in the house of the couple of artists Antonio López and María Moreno. It was later to be considered the Film of the Nineties according to the survey made by the Cinematheque of Ontario between international film libraries and festivals. The idea of the film emerged while the director, Víctor Erice, accompanied the painter when he was working in three urban views, recording his working method and exploring the recreation of what the artist saw through the camera. Then when Antonio told Víctor that he was going to start painting a quince tree in his garden, the filmmaker recalled a dream that the painter had told him and conceived the film. Antonio would try to capture the sun of that season and its effects on the tree before its fruits would begin to fall off, while Víctor would follow this process that he would later join to the dream the artist had told him. The filming began on 29 September, 1990. ​ The film itself is an artistic exercise that attempts to capture another: the one conducted by the painter in his struggle against the elements to truthfully represent what he sees and feels at the sight of that quince tree. Antonio’s struggle thus became the struggle of Víctor; the filmmaker was concurrently confronting the technical complexities while trying not to interfere in the process of painting, in order not to alter it. The painter facing a seemingly trivial motif, a tree, tried to capture reality through his eyes. As Antonio López himself explained to Víctor Erice: "If you have the will to see it, the whole universe is contained within a tree." (Statement of V. Erice in the Spanish TV Show Versión Española, TVE2, 16 November 1999). During the days López painted and drew it he "accompanied the tree;" not only facing it but being with it, while its transformation continued. ​ The presence in this film of María Moreno, wife of Antonio, was not limited to the one she had before the cameras, since it was instrumental behind them, serving as executive producer and achieving the successful completion of the project, given the film obtained no subsidy. ​ In 1992 the film won two awards at the Cannes Film Festival: The Jury’s and Critics’ Awards. It was officially released on January 20, 1993. ​ In May 2017, on the occasion of the twenty-fifth anniversary of the appearance of the film at the Cannes Film Festival, the digitisation of the original to 4K DCP was presented in the "Cannes Classics" section. This process has been made by the Filmoteca de Catalunya under the supervision of the director of the film, Víctor Erice, who has also reviewed the montage. ​BHC ​ Awards: ​Jury Prize, Cannes Film Festival, 1992 Critics Prize, Cannes Film Festival, 1992 Gold Hugo, Festival of Chicago, 1992 1st Prize, International Festival of Uruguay, 1993 Best Spanish Director, ADIRCE, 1993 Best Film of the Nineties, Cinematheque Ontario, 1999 ​ Cannes Classics, Festival Cannes, 2017 ​ ------------------------------------------------------------------------------------------------------ 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 ​ ​ Anchor 1 links to articles about the film: Letra Global , 29 May 2019 La lamentable , 23 May 2017 ​ Caimán. Cuadernos de cine , 18 May 2017 ​ ABC , 3 May 2017 ​ ABC , 9 April 2014 El confidencial , 9 April 2014 La Crítica, 13 October 2012 ​ ABC , 24 January 2004 ​ Film Quarterly, Spring 1993 ​ ABC , 25 March 1993 El País , 20 January1993 ​ ABC , 19 May 1992 ​ El País, 12 May 1992 ​ interviews and reports on RTVE : RTVE a la carta, Antonio López :