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an intense look magical realism of postwar Madrid

The forceful definition of the volumes in its first reading works, Josefina (1953) - accuses the influence of the Italian Quattrocento.

Concern about the plastic strength and the precise composition also takes an interest in Cézanne and Cubism "Women watching the planes (1954) - on issues always with their families in Tomelloso.

Since 1957, his work includes a surrealistic twist: figures and objects floating in space, taken out of context images that relate to a troubled start to populate his paintings.

The language, however, remains linked to the classical touch and volume of his early works. The great vein remains at least until 1964-is still very noticeable in Atocha, ended that year, though, since 1960, loses intensity, on the one hand, there are fewer tables in which these mechanisms are used and In addition, Antonio Lopez shows a growing interest in the fidelity of representation, narrative regardless of the load contained therein.

is as if the painter was increasingly dependent on the subject, as if he needed to have it before to recreate in minute detail.

This double aspect of his paintings of those years brought about their attachment to the criticism that, especially in the sixties and seventies, it was called magic realism, a name that the artist has always seemed redundant.

The truth is that his paintings and drawings are getting closer, as Brenson wrote, to "the sense of the density of what we call the visual world," and that is a meticulous and almost obsessive recreation the subject.