Antonio Lopez in one of his studies in Madrid, a tiny room with little light and a rented room decor. Kind of like moving to a picture of Antonio López. Question. When I suggest that taking photographs in the Prado, said. 'No, I have nothing to do with it! ".
Response. No! Yes I have to see! How could I not have to see! But you may have to do with women and do not want you to do the photos in a brothel . P.
Chapeau!
R. I want to say that my life has been spent in a museum. The museum is for me as for you: a place where there are some people who interest you very much. The occasional visits. But I've made in life. I'm not an intellectual. So I did not feel good picture there. Not for the Prado, or for myself. It was a bit moody. If I were asked what proportion of hours of my life occupies El Prado, would have to answer to a very small proportion. And that I'm the type who goes!
P. Did you copy something there? R. No. I just made a copy, as a student of Fine Arts, and because I commissioned an English writer who was a distant relative of the eighteenth century he had painted Batoni. But the picture was not even in the Prado, but in the Academy Museum. I liked it. One of the teachers I had as a student, the most prestigious I said that I could use to copy in the Prado. But as then you and I explained why I wanted, I did .
P. You would fit seamlessly in a English tradition?
R. I think so. The English are English .
P. From these axioms as accurate is the most often doubted. R. Call it what you : tradition, genetics or destination. The French are French, English, English. The art is very noticeable. Not only that, but I see Dalí, Catalan, and Romero de Torres, Andalusia, and Zurbarán, Extremadura, and my uncle, who was a great painter, I learned, a man in the shadows, but a great painter, I see my uncle Castilian and Sorolla, Levantine, that Oteiza and Chillida are Basques notice it right away ... And they all have that something common. What happens is that within this common chord lot going on, because Spain is many things. Actually much more mysterious than the nationalities in the art is the fact that each time a different gear. Because man is the same .
P. Which is exactly what seems mysterious? R. I find it shocking that Romanticism, for example, appears with the firmness and clarity in a particular moment when the man is always the same ... romantic. If there were any cosmetic makeup, art would be much less variable in every age and every time obey not styles, but simply to knowledge that is very different. If you see a mural of Giotto and Masaccio another, understand that they have spent seventy-five years. Knew less than Giotto Masaccio, Masaccio because search was in that language of reality, to grasp the reality, he knew what was the volume and proportion, he knew put a figure on a street. That's all very nice but not style, is technical knowledge. And from there, everything was at the mercy of reasons animals seem normal. But it appears the other, appears Romanticism. A fever. When the fever passed, the artist is what happens to the brooders. chickens are again.
P. Does the horizon of a fifteenth century painter was much more limited than yours? R. Or not. I do not know. We are talking about paint, nothing else. Paint only has to do with feelings. Bosch, in his century, saw many things, much more than what people see today. Just go to El Prado. I have been very interested in his hallucinations. Bosch is a summary: there is all the Renaissance: they knew, what unknown, As feared, the dark, clearly. You may like more Vermeer. And can you imagine what I like the Vermeer. But that does not mean there are not things behind the same value. Vermeer would not have occurred without the above. Piero della Francesca greatly disappointed me at nineteen and then when I saw him not so long ago, I was impressed. A man there, so lonely, so he had limited knowledge about what work he left us ... Vermeer, of course, is very close to us, everything we've seen in film, photography, and that no longer amazing, that man, four centuries earlier, had the revelation of how is the gaze of man over things.
P. The revelation of realism. R. But not only that. It is their audacity! But how do you put in front of the human figure a vase or a rug, if the king of creation is man? That was so impressive that a revolution was not at the time. Unnoticed. But I was very impressed. Such as Bosch. To me Bosch impress me because I would paint then painted surrealism, the part that belongs to the dreams, desires, fears, the irrational part. In other words, everything is also real. That spell that is what Vermeer also has Bosch, That indefinable mystery .
P. Has not said what the English have in common from the point of view of art.
R. I traveled very little girl and when I made my first trip to Italy had long been dreaming of things Italian from here. Well, there I saw what was being English. A very stripped of looking at things, very make-up and very friendly. And that has tremendous energy. It is a way of telling the truth a bit risky. It is likely that sometimes is not understood. But there has to be these people who say things well. To reach that level no makeup, no apparent aesthetic scaffolding, have to be very large, because otherwise you end up in the obvious, making repairs very flat and rough. But when you compare it to David or Ingres and Goya notice the difference. In Goya's soul see things in a very direct way. The same thing strikes us in Bacon: artist without intermediaries. English art has no such lavish clothing, so it is difficult to reach him, and came quickly. A Velázquez took to get there. When told that he could paint no more than heads, it was for something. They missed the refinement, because he painted such rude things that were not more than life, as the water carrier, and at the time it seemed that the main mutilated of art. It required great courage, a lot of rebellion and a lot of faith to see that a water carrier could be reflected on the canvas. Well, maybe I missed answering. But I think that's all things English.
P. A certain detachment. R. may be the word. The English do not really know why he does things. So a man like Sanchez Cotan made six wonderful still life and did not do. It's like a kind of destiny that leads to their loss, to do something that can lead to problems. But if they are not enough leads to find support, get to do something valuable for others. Only the English have done with that character. About Picasso. Compared to Picasso Matisse Picasso is seen that is straightforward: think what you are telling. When you come to love is priceless. The apparent problem of English, however, is that never appeared in prestigious environments, which were Italian, German and Flemish. From outside came always the most attractive and colorful ... If Goya had had to make that work in France would have been difficult. Goya is what saved him was the ignorance of his own art. He was elemental in the best sense of the word. The English beauty has not had sufficient strength to become a renowned aesthetic has not been and could not act. This was hard. Have had to say to Thomas Mann and Dostoevsky huge joke that had the seriousness of life.
P. Means that the absence of the dominant aesthetic has released the English artist to have things in a new way.
R. Yes, I think.
P. When I spoke English art could hear traces of a hypothetical pictorial autobiography. R. not believe it. I traveled little and then all you might be interested in me or clarify my confusion, did not walk around here. My uncle I did not understand. Would have saved me some suffering. Some time and also in doubt. But maybe it's it is good that everything has happened as has happened .
P. Does the modern English culture has escaped the canon of the abstract?
R. Among painters, I have never asked this question. Abstract art is an area of \u200b\u200bknowledge that has been opened, absolutely necessary, and will last more or less as those who do. That is, the same thing happens with figuration.
P. Actually, I did not talk about culture, but cultural policy.
R. Some people never have fallen there, but the official Spain leg is stuck in that dogma. The official Spain, convenient, comfortable, is has gotten there. It is a great site. As he understands nothing of what happens there, the situation is total comfort. If you have accepted the canon of the abstract is because someone has decided so. This is the first time this has happened. Before we talked about kings who decided for themselves what their likes and acted accordingly. Today, however, is a society that has been delegated to those who know and stayed quiet. The difference between Philip II and a minister of culture of our times is that Philip II had doubts, and these doubts sometimes caused him major headaches. Today the culture minister says a specialist, 'Hey, amuéblame the office. " There is an awareness that art is very difficult to understand which is true. But instead of admitting it and interact with art from ignorance, from the fertile humility of ignorance, have preferred to delegate .
P. But people who know have established the canon of the abstract. R. course, because these people are in the office. At this time in Spain seems that everyone understands only abstraction and figuration is in permanent conflict. It's funny but just happened to the arts.
P. Relatively also had literature and cinema that time.
R. But it is incomparable. Maybe it's that the arts are easy to see: I mean to do a little effort to join them: just checking them out ... very little paint comes in your life: you can have with it a purely epidermal. Now, none of this takes away that I understand the greatness of abstraction. We had to get there. Vermeer know what it is thanks to the abstraction, we know what a blue-gray hand, a large and a small way, thanks to abstraction. And all that can know and appreciate Vermeer, precisely. To me, in any case, what seems wrong is to stay there. In art, all are places of passage. There is no place in art. If so, you lose liberty.
P. Do you not lost?
R. No. I have not lost.
P. Sometimes it seems as if it had gone into the establishment elbowing.
R. Maybe yes, why not. I have been in major galleries. And there are many collections that we are all abstract and figurative stuck. I do not see that our differences are so decisive. Some people go to Venice, it is true. I'm not going. But those who go to Venice also lost important things. And anyway, going to Venice is not synonymous to represent all English artists. That have long since disappeared.
P. Have you thought about his art may have been favored by contempt? R. No. Go against the grain is never good. It's like walking with the headwind. If there is no choice, walk and if you have enough energy, you come. But it is exhausting. Are created, moreover, very bad vibes. I do not like bad relationships and I have lived many. I speak of a strictly spiritual, not about who wins the most money. We're all on the same adventure and feel the same. But there have been some battles that could have been avoided. If you have been avoided, perhaps best painters have emerged. This has happened in Spain than anywhere else. In Italy, for example, encourage independent artists of royalties. There is a complicity with the artist. Velázquez seems a miracle, born as a seed into a wasteland. Velázquez to Goya almost no one there. The wasteland. It is not always so lucky. How could gestating Don Quixote? The simplest, most likely, had not appeared.
P. Well, that is pure history of Spain.
R. Well, maybe, yes. Maybe you have to give the greatest difficulties, and the outgoing, and enduring, and the one who can do everything, then, a Velazquez.
P. Do you think there has been a cultural paradigm shift in Spain from the Popular Party government?
R. And you think has been a change between left and right? No, man, no, no way. We are in the glory of capitalism: the left is impossible. Perhaps what corresponds in a natural way at this time is right, that is what has to lie less. To brush a bit and try to make things right. I think it has its advantages: not surprised cocochas eating or traveling first. I think you can be more honest and more natural. And in the cultural ... the right is happy to bet on abstract art, because it is a quick way to remove sambenitos off.
P. So ...
R. So the bad people always make life miserable for the good people. But what can you do?
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