Matías Diaz Padrón, The Artist’s View

Matías Diaz Padrón combined wisdom and nobility at the same time, as if those years he lived (born in 1935) were tempered in a rich experience that helped him to be up to date. A loner who never left the main accents in his life, the one who accompanied him from childhood on El Hierro to the one he applied to explain art.

He was talking about Robbins (“Rubens worked as if it were Beethoven’s Ninth Symphony, he had told Fernando Canelada in La Provincia a year earlier) as if it were near or recent, and he was treated the same way.” Rembrandt Oh Van Dyke. Talking to him means opening a dictionary, And to see what he has done for the Mole Institute is like reflecting frankly on the wonderful bibliography he leaves behind which is indeed the history of art. In 2021, when that interview came out, he signed it writings about robbins, But if one delve deeper into the remarkable capacity for work revealed by Matthias, one finds that there was almost no year, practically, without telling of his extraordinary capacity for work, his depth, and his delight in doing so.

His work on restoration assignments at the Prado, the passion with which he placed him in the task of heading the Moll Institute of Flemish Art, the punctuality with which he met the demands of his various jobs, and his open, friendly and willing personality, made them an essential friend to those who were their peers, teachers, students and superiors. Miguel Zogazawho was a manager meadow When this guy from El Hierro we just left was still there, he said on Wednesday of Diaz Padrón: “He was a sensitive and intelligent person, one of the great European experts in the art of flamenco.

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The former director of the Prado, who now directs the Bilbao Museum of Fine Arts, has highlighted the work of Diaz Padrón in Writing the first catalog of flamenco drawings for the Prado Museum in 1975. “He literally mined out the collection of the great masters, and he also took special care in preserving the materials of that collection, which in time became the best preserved of the whole Museum.

Unique exhibitions dedicated to Rubens and Brueghel, as well as their exceptional contribution to institutions such as Velazquez Institute or one Preserving cultural assets They were part of the devotion of Matías Diaz Padrón, who, says Zogazza, “finished his long career in a remarkable way with his work at the Mall Institute of Flamenco Art, for which he He made particularly important books on Van Dyck or Jordaens& rdquo;.

An islander who left behind a universal vision of art that he loved just as he loved the island where he was born and which was always a part of his life, just as Rubens was the main reason for his ambition to know and love art.

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