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ANTONIO LOPEZ INTERVIEW WITH THE
27/03/2006
The renowned painter Antonio Lopez, a member of the Royal Academy of San Fernando and awarded the 1985 Prince of Asturias, gave a three-day workshop Plastic building in Los Alcazares around the landscape and the nude, in the long program organized by the University of Mar de Murcia, framed in the course Theory and Practice of Artistic Creation in which renowned experts have given lectures in the art world .

Question: Without the first lessons from his uncle Antonio López Torres, perhaps everything would have been different for you? Answer

: As for my uncle Antonio, which was decisive is that I allowed the leave Tomelloso and begin to study painting, but what he told me.

That changed my life for 13 years, and that helped me convince my parents for me to go to Madrid, and that another would not have succeeded.

My uncle was a person with high prestige and a lot of authority in this regard, and of course my father obeyed said I was worth, and my father believed. At that time was not a normal thing to send a child to the capital to study any discipline.

This was enormously important, I do not know what would have happened without the intervention of my uncle. But much more important is for me his example as a great artist, and not their words, because sometimes they are very easy to say, is much more his example as a human being and admiration that I have driven by all the merits of his painting, that for me has been an enormous privilege because there are very few people who may have as close to something so big. I had a double fortune thanks to my family it makes me Madrid and then to have that example to me. People generally doing very lost.

Although I had the distance reference point, because if there had been close to a risk of acquittal and I was conscious.

Later when I left school at a time in my life, I noticed the reference to having closer than absolving me as it entered orbit and must not happen that because I did not seem both to him.

Question: Velázquez and Vermeer are still its artistic references?

Answer: I think that the references are many, some of you have very clear and sometimes very inaccurate. There are some things you do not like absolutely nothing, but that will count as references, such as points of danger warn you that you should not pass, according to limits in terms of literature, film and life, you will teaching.

But of course, Velasquez, what will you say? There are the Greeks, is clearly behind us there are hundreds of extraordinary art, and the Europeans have that privilege, which in turn, sometimes choking us.

And is the amount of wonderful things behind us, behind us. That sometimes coerces us a bit and takes away freedom, but also gives us much pleasure as spectators.

Question. Why in the execution of his paintings were dilated?

Answer: Well do not know. When I see painting in these workshops, sometimes interesting things and painted so quickly, I wonder: What do I wrong?

But there will be a misunderstanding that I developed during my years training, or faith in a way to work, because it is a slow compared with that of others, maybe I could have abridged. I do wonder now, but things are well.

There are also other people who are slow, few filmmakers who make movies or poets who publish very few books. Is it better to be torrential? That's not a choice. But I wonder if I'll spend a little, but in any case is not voluntary.

Question: At what point is the portrait of the Royal Family has been doing eight years?
Answer : Well I'm on it. I have been a few months without work, busy with other things and now I will continue. As I do with photography I have no problem with all the changes that may be.

Question: What do you think the artistic labels, for example, that of magic realism in which he framed in the 60's?

Answer: are words, I think tags are like the word Renaissance and romanticism, if you still do not know if they are the right words.

What matters are things of value and those people displayed at all in those areas and excite you. Not so much the word, for example in impressionism do not know to what extent these people are impressionable. I do not think about that a lot.

Question: You've worked alone for decades in an art world dominated by abstraction, data processing and conceptual trends, and end his painting continues to thrive.

Answer: Well that's . Not only me, there is a part of the painters and writers around the world working within the figurative, with faith and doubts.

While doubt and faith is inevitable in any trend. Such is life at this time, we doubt almost everything.

Question: Does the end always considered a hyper-realistic painter? Answer

: As a label may be wrong, but as I have not stuck to the front, who cares? One can not discuss that out permanently.

I believe that we are not hyper English realists. That word comes from a painter and sculptors who worked on the real world in North America, and have a technical implementing a theme and work strategies are not our .