Hers were objects as humble as they were universal, as simple as they were narrative.
But much of the work in Germany had been lost or not requested for exhibitions.
Some are godmothers to the children of others.
Pensamientos sobre la nevera(1971-1972).
Its a completely unusual situation, says de Cos Martin.
And although they had different personal circumstances, Quintanilla enjoyed the unwavering support of her husband.
Paco admired her, supported her, and encouraged her not to stop painting, de Cos Martin adds.
La mesa azul(1993)
The fact is as clear as a Duralex glass.
El teléfono(1996)
La sandía(1995)
Jardín(1966)
