SINK AND MIRROR (LAVABO Y ESPEJO), 1967
Art of Asia
Art of Europe
Kay Nielsen
Boston and Massachusetts
Maurice Prendergast
New England Artists
Tags: architecture, interiors, still life, realism, 20th century, european art, modernism, 1960s
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López García studied art in Madrid in the 1950s and lived there after 1960, becoming an instructor at his alma mater, the School of Fine Arts of San Fernando. He has influenced generations of artists as a leader of the Spanish Realists, known for their unyielding depictions of their surroundings and for the long history of painting from which they have evolved. López García's paintings and sculptures demonstrate not only his keen powers of observation, but also his extraordinary sensitivity to atmosphere and light.
Interior spaces are a recurring theme in López García's work, particularly the interior of his own studio and bathroom. Though he was initially captivated by the emptiness of his new studio, in Sink and Mirror López captures traces of his own presence. The objects arranged on the shelf below the mirror serve as an autobiographical assemblage that stands in for the (absent) reflection in the mirror. The artist's near-obsessive attention to perspective, as hinted by the vertical and horizontal lines of the tiles, cause a rift in the painting's composition; in order to avoid a terribly inclined perspective, López divided the scene into two views, keeping the traces of process as a mediating buffer in the center.
Flowers in a Blue Vase, about 1910-13
Yuhi Falls at Shiobara (Shiobara Yuhi no taki), 1920
The Sower, 1850
Meadow with Poplars, about 1875
George Benjamin Luks
View of Beacon Street from Boston Common, about 1923
Mixed Flowers in an Earthenware Pot, about 1869
Lullaby: Madame Augustine Roulin Rocking a Cradle (La Berceuse), 1889
Little Goose Girl, 1868
Jardin de Paris, 1890
Antibes Seen from the Plateau Notre-Dame, 1888
Antibes, The Pink Cloud (Antibes, le Nuage Rose), 1916
Valley of the Creuse (Sunlight Effect), 1889
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