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Fermín Aguayo room D

Sotillo de la Ribera (Burgos), 1926 – París, 1977
After a period of abstraction and Informalism (1945-1960), his painting returned to figuration, integrating the human figure in an abstract world. He produced several series of interpretations of the classics, especially Velázquez, Tintoretto, Titian, Rembrandt and Van Gogh.

Avigdor Arikha room F
Claudio Bravo room F

Valparaíso (Chile), 1936
Poet and painter, educated in Santiago de Chile. His early success as a painter enabled him to travel, and in 1961 he settled in Madrid, where he studied the works in the Museo del Prado, making interpretations in a hyperrealist style of Italian Renaissance paintings, as well as Velázquez and Zurbarán.

Louis Cane room D

Beaulieu-sur-Mer (Francia), 1943
He studied at schools of decorative arts in Nice and Paris. He has been an active member of the Supports/Surfaces group and co-founder and editor of Peinture, cahiers théoriques. In 1975 he gave up his abstract series to practice a style that ranges between figuration and abstraction, exploring the history of art through his own work.

Juan Carreño de Miranda room B
Philippe Comar room E
Michael Craig-Martin room F

Dublín, 1941
Educated in the United States, he had his first solo exhibition in London in 1966, and has taught at Goldsmiths’ College since then. He has shown in numerous one-man and group exhibitions. His work, marked by the influence of Pop and Minimalism, reflects on the nature of art and its impacts on the spectator. He also explores everyday objects and represents them in large-format images, and has produced interesting interpretations of Velázquez’s Las Meninas and Zurbarán’s still-lifes.

Salvador Dalí room D and E
Juan Downey room Zero

Santiago de Chile, 1940 – Nueva York, 1993
After studying architecture in Chile he moved first to Barcelona and then to Paris —he studied engraving at S. W. Hayter’s Atelier 17— before settling in New York, where he studied and became a professor at the Pratt Institute. Regarded as one of the pioneers of video art, a medium that enabled him to transform the experience of perception and manipulate time and space. His work, which mixes the documentary with the autobiographical and video experimentation, expresses his ideas about identity, art history and politics. His series Trans Americas (1971) deserves special mention.

  Equip Crònica room D
Antonio de Felipe room C

Valencia, 1965
A graduate of the Escola de Belles Arts in Valencia, his painting is informed by the premises of Pop. Much of his work is developed in series, of particular note being those devoted to Velázquez and to various modern and contemporary personalities.

Alberto Gironella room D

Mexico City, 1929 – Valle de Bravo, 1999
Founder of the literature and art journals Clavileño and Segrel, he began painting in 1948. Four years later he made his first picture based on a historic painting. His reinterpretations of classic works combine painting, relief and objects of various kinds. His work is symbolic and emotionally charged, but always retains a dose of irony.

Francisco de Goya room D

Fuendetodos, 1746 – Bordeus, 1828
Painter and engraver. In 1771 he travelled to Rome, where he came into contact with Neoclassical art. In 1774 he settled in Madrid. Recommended by his brother-in-law, Francisco Bayeu, he began making cartoons for the Royal Tapestry Factory, and in 1778 became a member of the Real Academia de Bellas Artes de San Fernando. His numerous portraits of personages at Court are notable for their depth of psychological characterization. In 1789, when Charles IV came to the throne, he became royal chamber painter. Following the French occupation and the return of Ferdinand VII in 1814 he painted his two great compositions dealing with the war: The Second of May, 1808: The Charge of the Mamelukes and The Third of May, 1808: The Execution of the Defenders of Madrid. Between 1819 and 1823 he decorated the walls of his residence, known as the Quinta del Sordo, with a series of hallucinatory Black Paintings. In 1824, ill at ease with absolutism, he went into exile in Bordeaux. His most important series of prints are Caprichos (1797-1799), The Disasters of War (1810), Tauromaquia (1815) and Disparates (1819).

Richard Hamilton room D

Londres, 1922
Painter, engraver and photographer. He trained at the Royal Academy Schools in London. Acknowledged as the creator of the first British Pop collage, he practices an optimistic Pop of great technical sophistication. Without ever abandoning the traditional parameters of painting, he consistently reflects its photographic aspect. Like Andy Warhol and other Pop artists, he works in thematic series.

Juan Bautista Martínez del Mazo room A-B
Vik Muniz room D

São Paulo, 1961
Originally trained as a sculptor, he uses unconventional materials such as chocolate, sand, jam, wire or artificial blood to give form to his compositions, which he then photographs. He also uses these materials to recreate famous works from the history of art.

Jorge Oteiza room E

Orio, 1908 – San Sebastian, 2003
Sculptor and ceramist. His primary plastic concern was the integration of sculpture into architectural spaces, with a great simplicity of form. He worked with found objects, marble, iron and steel, seeking to apply the idea of ‘cutting the space.’ He taught in Argentina, Peru and Germany, and wrote a number of theoretical works.

Giulio Paolini room E and F
Pablo Picasso room B, C, D, E, F
Josep Roca-Sastre room D

Terrassa, 1928 – Barcelona, 1997
Painter, grandson of the Modernista architect Lluís Muncunill. It started out from a schematic figurativism and moved toward abstraction before returning to lyrical figuration. He specialized in urban scenes and interiors.

Antonio Saura room D

Huesca, 1930 – Conca, 1998
Self-taught painter and engraver, he began painting and writing in 1947. Seven years later, after a Surrealist stage, began his affiliation with Surreal Abstraction and Neo-figurativism, and opted to paint only in black and white. In 1957, together with Manolo Millares, Canogar (Rafael García Gómez), Luis Feito and others he founded the group El Paso, which had a great influence on the Spanish painting of the sixties. In 1960 he abandoned the exclusive use of black and white. From 1968 he gave up painting in oils for ten years to concentrate on works on paper. His work has been shown in numerous exhibitions in many different countries.

Josep Maria Sert room A
Soledad Sevilla room E
Thomas Struth Hall
Franz von Stuck room A

Tettenweis (Alemanya), 1863 – Munich, 1928
Painter, sculptor and printmaker, he was one of the founders of the Munich Sezession. In 1895 he became a professor at the Kunstakademie in Munich, where Klee, Kandinsky and Albers were among his students. His work is closely aligned with the Symbolist movement.

Eve Sussman room E and Zero
Cristóbal Toral room D
Manolo Valdés room D

Valencia, 1942
Together with Rafael Solbes he formed Equipo Crónica in 1965. Since the death of Solbes in 1981 he has worked on his own, in an in-depth reflection on the history of painting. He produces variations on the basis of emblematic works, grouped by theme or argument.

Diego Velázquez room A-B
La infanta Maria Teresa de EspañaMariana de AustriaLa infanta Margarita María
Joel-Peter Witkin room D