The wonderful painter from Madrid, wife of the hyperrealist Antonio López, has died at the age of 87.
When it comes to talking about María Moreno, one has the sensation of entering a patio, not only because her own name invites her to do so, like that of those elderly ladies who have gathered the fruits of their garden all their lives, but because in his paintings one better understands the light that makes the most common places so special. Maybe Vermeer. Maybe Sorolla. But very few painters have known how to pick up with a brush that minimal plasticity of the luminescence of things.
He was born in Madrid in 1933, although with the Civil War he would spend some years in Valencia, where he discovered other colors and the sea. When she began her studies in Fine Arts in 1954, she herself knows that she still has a lot to learn: she will visit Paris, give classes, collect in her mind everything she wants to do. When he finished his studies in 1959, the pictorial group was already formed: Isabel Quintanilla, Julio and Francisco López Hernández, Lucio Muñoz, Amalia Avia, Esperanza Parada and, of course, Antonio López.
Amalia married Lucio. Esperanza, with Julio. Isabel with Francisco. And María Moreno, Mari, with Antonio, with whom she would have her two daughters, María and Carmen. “It has been much more difficult for us than for our husbands,” Quintanilla said on one occasion. For Moreno, especially, especially because, although she and her life partner were mutual supports and pedestals on which they settled, he was the great exponent of hyper-realism in Spain. And she, woman.
It must be added that his initial paintings were gloomy, dark, uncertain, as could be seen in his first exhibition, in 1966 at the Edurne Gallery. And that its production is not very wide. It will be in the 80s, once her career is much more consolidated, with exhibitions abroad and the influence of Antonio López Torres, her husband's uncle, when she finally opens to the light, which will soak everything in her work.
From then on, the flowers will receive another glow, their white walls will be antonyms for the ungraspable, they will search the streets and the heavens for the heavenly capacity they have hidden. “I would like to put everything I want to express into the picture and I cannot do it with words. I am more of a painter of light, of well-placed forms. The light that I like to use is well suited to that fragile, weightless world that blends in with the surrounding atmosphere ”. His words.
Her name is detached from that of her husband, being companions of adventures and their own entities, but each with their delicacy and candor. He praises Moreno that his painting "talks about something, it refers to something that has great value: purity, the purity of things, in an impure world." She is the executive producer of 'La luz del membrillo', Víctor Érice's 1992 film centered on Antonio López and in which she appears as a character. It will win the Jury Prize at the Cannes Film Festival.
Valeriano Bozal, a renowned Spanish art historian, in his work History of 20th century painting and sculpture in Spain, made a conscientious definition of the difference between Moreno's realism and Antonio López's quasi photography: “His business is very close to her husband's: everyday scenes, dinner plates, bedrooms, the backyard, etc.
“Her affairs are very close to those of her husband: everyday scenes, plates of food, bedrooms, the back garden, etc.Valeriano Muzzle
Solitude and silence also predominate, but in one aspect she differs from her husband: her gardens have flourished ”. It will be that he has given them light.