Although she preferred to be qualified as figurative and unrealistic, truth is that Isabel Quintanilla (Madrid, 1938) was one of essential figures of group known as Madrid realists, all born around years of Civil War and authors of a work Focused on most everyday nature. Wife of sculptor Francisco López Hernández, who died on January 8 this year, Isabel Quintanilla died last Tuesday at her home in Brunete (Madrid), at 79 years of age, has reported today, Wednesday, National Museum Thyssen-Bornemisza, headquarters of Great Realistic exhibition of Madrid, between February and May of 2016.
The Thyssen exhibition was a solemn and emotive end to a lifetime dedicated to an artistic option that had not always been well received between critique and art world itself. With Antonio Lopez at head, most famous of m all, group was formed by brors and sculptors Julio López Hernández (Madrid, 1930) and Francisco López (Madrid, 1932), Isabel Quintanilla (Madrid, 1938), wife of Francisco; María Moreno (Madrid, 1933), wife of Antonio López; Esperanza Parada (San Lorenzo del Escorial, 1928-Madrid, 2011) and Amalia Avia (Santa Cruz de la Zarza, Toledo, 1930-Madrid, 2011). With abandonment of Maria Moreno's illness, Isabel Quintanilla was last female representative of group that was still active.
Quintanilla entered 1953 at School of Fine Arts, completing his studies six years later. In that period he met Antonio López and Francisco López Hernández, and a great friendship arose.
Woman of strong character and great personality, on eve of exhibition of Thyssen explained that option of painting Madrid arose for simple reason that almost all were born or lived in capital. In fact, in decade of 50 and 60 lived in low Casitas area that exists next to Plaza de Castilla, same area in which Antonio Lopez still lives with his wife.
As Guillermo Solana, artistic director of Thyssen and curator of exhibition dedicated to realism, said, exhibition was for many a great discovery of Quintanilla's paintings. "In his work of sixties and Seventies re is something radical, a rigor without concessions." A glass of Duralex on a windowsill or a piece of wall drawn or painted by it have a serenity and a truth that can not be forgotten. "As a person, she was a woman full of energy, of light."
When Quintanilla was n asked about price he had to pay to defend countercurrent figuration with international trends, he responded that it may not have been understood within Spain, but that his work had been Perfectly understood outside. Slow and precious author (no more than three or four paintings a year) said that almost all his production had been sold in Germany, a country where he had very loyal collectors. This is why it is not surprising that his work is part of permanent collections of numerous museums and foreign collections: Baltimore Museum of Art, National Galerie in Berlin, Städtische Kunstsammlungen in Darmstadt, Hamburger Kunsthalle in Hamburg, Museum Anaeum of Helsinki, Bayerische Saatsgemäldesammlung of Munich, Neues Museum of Nuremberg, Staatsgalerie of Stuttgart, Hirshhorn Museum and Sculpture Garden or Smithsonian Institution, in Washington. In Spain it is part of collection of Bank of Spain and Count Duque, in Madrid.
On Friday November 3, at 19.00, a funeral will be held in parish of assumption of Our Lady, in Brunete.