American Printmakers On-line Catalogue Raisonné Project
Home || About APOCRP || Contact Us || Search the Site

Table of Contents
To navigate this
catalogue raisonné,
choose from the links below.
Thumbnails, Part 4:
Prints made for Illustrated Books
(These prints are not included in the catalogue raisonné proper.)
A Biographical Chronology
of the artist (and its accompanying linked pages) appears on the website
The Art and World of
Luis Quintanilla

To navigate
The American Printmakers On-line Catalogue Raisonné Project, use the links below.
Useful Links
Copyright ©
2006-2007
by Jeffrey Coven
The Prints of Luis Quintanilla:
A Catalogue Raisonné
(in progress)
Full Entry Catalogue
Catalogue Entry #: 19*
Title: El forzudo (The Strongman)**
Series: Madrid Prints


Click the image for enlargement.

Date: C. 1934***

Medium: Etching and Drypoint****

Edition: 10*****

Dimensions: 360 x 280 mm. (14 1/8 x 11 in.)

Printer: Adolfo Ruperez

Paper: Wove with Arches watermark

Signature: Typically signed in pencil, l.r., beneath the plate mark.

Public collections holding this print: BNE

Topic galleries for this print:
Couples
Performance, Entertainment and Celebration
Street Scenes

Notes

*Catalogue Entry #: For numbering used in other catalogues, see below.

**Title:

  • The title, "El forzudo", appears in the artist's hand in pencil on at least one impression beneath the plate mark, l.l. (See Fig. 1 below.)
    • The only known impressions bearing titles in the artist's hand for Madrid Series prints are in the Hemingway Collection and carry their titles l.l. where the numbering normally appears.
  • The Pierre Matisse Gallery also uses "El forzudo."
  • The BNE catalogue uses "[El Forzudo]"
  • The equivalent English is "Strongman," which is used as the title (spelled "Strong Man") in the AAA exhibition catalog of 1939, "Luis Quintanilla."

Fig. 1.

***Date: No date appears on any of the observed impressions of this print. Of the dates that appear on works in the Hemingway Collection, which includes this print, none is earlier than 1931 and none later than 1934. Quintanilla started making drypoints, in fact prints in general, with Adolfo Ruperez, the printer of all the prints in the Madrid Series, sometime after the artist's return to Madrid in 1929. (See Biographical Chronology.)

The one known exception to the range of dates specified in the paragraph just above is entry # I.

****Medium: Although Burdett claims that Quintanilla did not mix his printmaking media and used solely drypoint, the BNE catalogue describes this print as "etching and drypoint." Examination of other prints from the Madrid Series also reveals the use of etching along with drypoint. Until further examination is made, the catalogue raisonné concurs with the BNE designation of "etching and drypoint."

For further discussion of the factors involved, visit the "Medium" section of "Using This Catalogue Raisonné."

****Edition:

  • The BNE catalogue states "Tirada de 10 ejemplares" (Edition or pulling of 10 impressions).
  • Ruperez typically printed ten or fewer (most commonly 7-10) of Quintanilla's Madrid Series prints, often including at least one or more unnumbered impressions. (No record exists of more than two unnumbered impressions of any of the Madrid prints.)
    • The Hemingway Collection typically includes one unnumbered impression bearing a title instead of the number, l.l. (See Fig. 1 above.)

Reproduced in: "Luis Quintanilla" (AAA exhibition)

Return to the Top of This Page
This page last revised: Sunday, December 17, 2006