Antonio Lopez Garcia: Paintings and Sculpture (Anglais) Relié – 30 septembre 2011
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Another thing that the authors have done so well is capture a large span of Garcia's work and include a few paintings in stages- priceless information for an artist. The book starts from early figurative work to his vast cityscapes and ends with his still life paintings. I highly recommend picking this up. As an object, this book is beautiful, and the work inside is an inspiration.
The book opens with two essays, the first a brief but tender reminiscence by Miguel Delibes who as well as any writer conveys the awe with which most of us approach the artist's work. The second essay by Francisco Calvo Serraller is an extended survey of the artist's life and various modalities in which her creates. It is here that we gain an appreciation for how sculpture grew out of his approach to observing reality.
From there on are pages, thoughtfully organized and sensitive to the talent of the artist's work - a span from 1953 to 2011. The paintings range form the huge painting 'View of Madrid from Torres Blancas, 1974-1982' to the studies and gradual development of his small jars and vases of roses, portraits of families at dinner, windows with and without views, city streets, lamp posts, common items like washing tubs soaking clothes or a sink and mirror or a skinned rabbit or babies' heads - and interspersed among these are his brilliant sculptures in both plaster and clay and bronze.
Anyone who has had the privilege of viewing the film of Víctor Erice's 1992 El Sol del Membrillo (The Quince Tree of the Sun), which closely chronicles the artist's attempts to paint a quince tree, understands that basically the artist takes a lot of time to bring a work to completion. The paintings at the end of this book are his most recent and are often shared as 'state 1' as in 'work in progress', and yet even these in progress works teach us much about the genius of this man's talent. He is a patient man, an artist who will accept nothing less than the ideal i his mind. In the words of Antonio López García, 'It is very difficult to know why we paint, yet this is not something I need to know, nor does it really concern me. There is something basic for everyone to know: what compels us to paint is emotion. And that emotion must come out in one way or another, even if the painting is only half finished. It s entirely possible that it will never be finished, but once you approach that point of expressing that which moved you to paint, the work is not futile anymore. It has an emotion that is indistinct. It's all the same whether it is expressed with figurative or with abstract forms: I do not see any difference.'
For those who are unfamiliar with the work of this master, this book is certainly the finest starting point. For those who are very much under his spell, this book is invaluable. Highly Recommended. Grady Harp, November 11