Museum Exhibition Catalogues, Monographs, Artist's Projects, Curatorial Writings and Essays
"I still remember a drawing of an olive tree. The lines moved gracefully across the paper, expressive and harmonious. As the olive tree emerged, those lines moving over the paper hypnotized me. Now I know why: The mystery of the language of drawing had instilled itself in me and I intuitively perceived that energy, that magic spell." Antonio López García, describing a drawing by his uncle, an artist whose work had a profound effect on López García as a child. Excerpt is from Drawings.
Published by D.A.P./Distributed Art Publishers, Inc.. Text by Francisco Calvo Serraller, Antonio López García.
The Spanish artist Antonio López García is revered worldwide not only for the extreme realism he brings to his paintings and drawings, but because he conveys through this extreme realism a wonderful sensitivity to light, color and space, enabling each to breathe with a tranquility that allows for the encroachments of everyday life. Interior scenes of dining tables, bathroom sinks, toilets, dressers are depicted in sober light that recall Chardin or the intimisme of Vuillard--though López García surpasses even these masters in his ability to make unforgivingly prosaic subject matter, such as a brick wall or a refrigerator, sparkle and throb with mood. The artist's statement that "you work until the whole surface has an expressive intensity equivalent to what you have before you, converted into a pictorial reality" conveys something of the labor he brings to his works: López García is not a prolific artist, and as a result shows rarely (his 2008 exhibition at the Museum of Fine Arts, Boston, consolidated his already strong audience in the U.S.). His drawings and paintings are equally esteemed, but until now, the drawings have never been the subject of a monograph. All of the work in this superbly designed publication has been carefully selected by the artist's daughter, Maria; much of it has never been reproduced until now. Including 200 color plates and a moving text by the artist himself, it stands as a powerful testimony to López García's astounding achievement. Antonio López García (born 1936) studied at the School of Art in Madrid in the early 1950s, and quickly became part of a nucleus of realist painters, such as Francisco López Hernández, Amalia Avia and Isabel Quintanilla. López García was the subject of Víctor Erice's 1992 film El Sol del Membrillo (The Quince Tree of the Sun), which closely chronicles the artist's attempts to paint a quince tree.
Published by D.A.P./Distributed Art Publishers, Inc.. Text by Francisco Calvo Serraller, Miguel Delibes.
The Spanish painter, draughtsman and sculptor Antonio López García is so widely celebrated for the staggering exactitude of his painterly realism that it's sometimes easy to neglect the magical, delicate atmospheres he conjures through his technical abilities. His paintings of what in anyone else's hands would seem the blandest subject matter imaginable--a blank wall, a coat hook, a kitchen sink, the interior of a refrigerator--teem with an infused, loving scrutiny that betrays the months and years of labor the artist devotes to each work. “Reality has a highly resonant physical appearance that twentieth-century man perceives from different angles to those of other ages,” he once told an interviewer. Likewise, his portrait sculptures attain an almost terrifying verisimilitude, the eyes appearing ever on the verge of flickering into life and returning the viewer's gaze. In 2010, D.A.P. published the definitive monograph on López García's drawings. In this new volume we at last have the definitive monograph on the artist's paintings and sculptures. Carefully overseen by López García in its production, this companion volume includes 200 full-color reproductions. Antonio López García was born in Tomelloso, in the heart of Spain, a few months before the outbreak of the Spanish Civil War in 1936. He studied at the School of Art in Madrid in the early 1950s, where he soon proved himself a brilliant student, and quickly became part of a nucleus of realist painters, such as Francisco López Hernández, Amalia Avia and Isabel Quintanilla. López García was the subject of Víctor Erice's 1992 film El Sol del Membrillo (The Quince Tree of the Sun), which closely chronicles the artist's attempts to paint a quince tree.
Published by Fundación Colección Thyssen-Bornemisza. Introduction by Aurelio Martínez Estévez, Guillermo Solana. Text by Antonio López, Maria López Moreno, Guillermo Solana, Javier Viar, Paula Luengo.
Antonio López--also known as Antonio López García--is hyper-realism’s greatest living exponent, and one of the finest painters of the past hundred years. Published on the occasion of the artist’s landmark exhibition at the Museo Thyssen-Bornemisza in Madrid, this generous overview constitutes a self-portrait of a genuine icon of contemporary painting. It spans the years from 1953 to the present, placing an emphasis on works made after 1993 (the year of the artist’s last retrospective exhibition in Spain, at the Reina Sofia Museum). These more recent pieces include masterworks such as “View of Madrid from the Vallecas Fire Tower” (1990–2006) and the monumental heads “Day,” “Night” and “Woman, Coslada” (2010). The artist himself has selected the works and structured their presentation here into eight thematic groupings: “Memory,” “Surroundings,” “Madrid,” “Gran Vía,” “Tree,” “Nude,” “Characters” and “Interiors.” Full-color reproductions are complemented by a wealth of archival documentary photographs of the artist at work. Antonio López García was born in Tomelloso, in the heart of Spain, a few months before the outbreak of the Spanish Civil War in 1936. He studied at the School of Art in Madrid in the early 1950s, where he soon proved himself a brilliant student, and quickly became part of a nucleus of realist painters, such as Francisco López Hernández, Amalia Avia and Isabel Quintanilla. López García was the subject of Víctor Erice’s 1992 film El Sol del Membrillo (The Quince Tree of the Sun), which closely chronicles the artist’s attempts to paint a quince tree.
PUBLISHER Fundación Colección Thyssen-Bornemisza
BOOK FORMAT Clth, 9.5 x 10.75 in. / 264 pgs / 176 color / 45 bw.
PUBLISHING STATUS Pub Date 10/31/2011 Out of print
DISTRIBUTION D.A.P. Exclusive Catalog: SPRING 2012 p. 18
PRODUCT DETAILS ISBN 9788415113119TRADE List Price: $60.00 CDN $70.00
Published by MFA Publications. Text by Cheryl Brutvan.
Antonio López García is one of Spain’s most revered contemporary artists. Bringing his profound visual sensitivity and mastery of light to bear on a range of deliberately quotidian subjects, López García imbues them with an extraordinary and haunting character. In 1993, his paintings and drawings were given a major retrospective at the Reina Sofía, Madrid, while Victor Erice’s 1992 documentary about López García, The Quince Tree of the Sun, received the Critics’ Prize at that year’s Cannes and top prize at the Chicago Film Festival. Yet López García’s work has rarely been exhibited outside his native country. This book, published to accompany the first major exhibition of his art in the United States (in tandem with the monumental El Greco to Velázquez exhibition at the Museum of Fine Arts, Boston), offers the first comprehensive overview in English of this extraordinary oeuvre. An essay by curator Cheryl Brutvan discusses López García as a descendant of the great Spanish naturalists, as well as his indebtedness to Surrealism and Magic Realism, while individual appreciations of some 50 paintings offer English-speaking readers their first opportunity to appreciate in depth the remarkable poetry and atmospheric density of this major world artist.
Published by Ediciones Polígrafa. Text by José M. Faerna.
Contemporary Spanish Realist painter Antonio López García is one of those artists, like Bacon and Balthus, who, in a century dominated by the avant-garde and its legacy, has managed to craft an individualistic style on the margins of prevailing trends. Known for his exquisite explorations of the mundane--starkly lit people, buildings, plants and interiors--he deftly calls attention to these familiar forms, allowing the viewer to pore over their details. Sometimes hyperrealistic, López García has been criticized by many art critics for neoacademism and praised by others, like Robert Hughes, who consider him a master Realist. As López García told Michael Brenson in 1989, "Reality has a highly resonant physical appearance that twentieth-century man perceives from different angles to those distinctive of other ages." The volume includes a text by art historian José M. Faerna.