MARIA MORENO

The painter María Moreno (May 14, 1933, Madrid) passed away in Madrid on the morning of February 17, 2020 at the age of 86. Trained at the San Fernando School of Fine Arts in Madrid (1954-59), she became a drawing teacher herself during the 1960s. Task that she would leave to devote herself to her artistic creation. She shared her formative years and early career with a group of artists dedicated to depicting reality, with whom she created bonds of friendship that have been lasting over time. Among these Madrid Realists, a name used by critics, were Isabel Quintanilla, Esperanza Parada, Amalia Avia, Francisco and Julio López, as well as her life partner, Antonio López. With him she has shared her artistic concerns, sharing mutual and indispensable support for the progress of their careers. The admiration between them has been a constant. They formed a family with two daughters, María and Carmen, of which María Moreno has been a fundamental pillar.

 

Although her individual exhibitions have not been as numerous as the group shows, due, in part, to the fact that it was not a possibility that she contemplated with great interest; they have been essential for her work to be known and admired by both national and international collectors.

 

To her artistic side we must add that of artistic management, which has been essential for the realization of different creative projects of the couple; including what is one of the most important films on the international film scene dedicated to artistic creation: The Quince Tree Sun, by Víctor Erice. María took over the executive production and, thanks to her determination, the filming of the tape was completed.

 

She was an artist of great sensitivity, who knew not only how to capture reality, but also how to add her emotion and sensitive gaze. She dedicated her talent to paint and draw those subjects that most seduced her, such as the bright landscapes of La Mancha and Madrid, but also her home and garden, as well as flowers and some brilliant still lifes; leaving works of great personal imprint. Her approach to colour and light was progressive, but once she opened her work to light, she would no longer abandoned it.

 

​

BHC