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Antonio López was born on 6 January 1936 in Tomelloso, Ciudad Real, a few months before the beginning of the Spanish Civil War.It first appeared that Antonio would continue in the family tradition as a farmer, but an early facility for drawing caught the attention of his uncle Antonio López Torres, a local painter of landscapes, who gave him his first lessons.
Antonio Lopez (February 11, 1943 – March 17, 1987) was a Puerto Rican fashion illustrator whose work appeared in such publications as Vogue, Harper's Bazaar, Elle, Interview and The New York Times. Several books collecting his illustrations have been published.
The film begins by showing Antonio López García as a very meticulous painter. He drives in pegs to mark his stance, hangs a weight and uses strings to determine the symmetry and center of his painting. His first attempt starts out peacefully but he soon encounters problems due to the weather and the size of his canvas.
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Juan Antonio López (June 15, 1952, in Culiacán, Sinaloa – June 29, 2004, in Culiacán) was a Mexican professional boxer who competed from 1971 to 1992.. López was best known for fighting Wilfredo Gómez twice for the WBC Super Bantamweight title, losing by a knockout in seven rounds the first time, and by a knockout in ten rounds the second time.
In the first years of the 19th century, many foreign artists visited and resided in Argentina, leaving their works. Among them were English mariner Emeric Essex Vidal (1791–1861), a watercolorist who left important graphic evidence of Argentine history; French engineer Carlos E. Pellegrini (1800–1875), who was devoted to painting out of necessity and who would be the father of president ...
Ensueños de Amor, literally "Daydreams of Love", is a "dreamy" oil on wood painting by Filipino painter and revolutionary activist Juan Luna. It depicts Luna's wife Paz Pardo de Tavera while sound asleep. It is currently a part of the art collection of the Lopez Museum. [1]
In the painting, the prisoners are lined up with their hands tied, while some friars are busy blindfolding them and trying to offer the condemned one last consolation. Behind them the firing squad awaits orders, while in the foreground, on the ground, some men lie already dead in a clearly Goyesque detail.