Papers
1.800 €
Executed in 1999 in oil on canvas measuring 47 x 41 cm, the work "Papeles" by Argentine painter Fernando Quirós stands as a paradigmatic example of his artistic maturity within contemporary hyperrealism and metaphysical still life painting. The composition presents a crisp geometric arrangement where several rolls of paper in vibrant hues—yellow, purple, red, and white—engage in formal dialogue with the iconic presence of a vertical loaf of bread, a central and obsessive motif in the artist's symbolic universe that transcends sustenance to explore dimensions of sacredness and daily nourishment. Set upon an impeccably draped white tablecloth featuring architectural folds, the objects emerge from a neutral background of earthy ocher tones through a masterful study of light, marked by soft tonal transitions and shadows cast with mathematical precision. Quirós deploys an academic virtuosity of imperceptible brushwork and delicate glazes that conceals all traces of the tool, emphasizing the tactile quality of the materials: the matte smooth surface of the paper, the weave of the fabric, and the sculpted crust of the bread. Far from a mere exercise in mimesis or technical display, the scene conveys an atmosphere of contemplative silence, geometric order, and timelessness, placing this canvas among the most refined and representative small-to-medium scale creations of his career within Hispanic still life painting.
TechniqueOil sobre tela
Dimensions47x41 cm
Year1999
ArtistQUIRÓS, Fernando
QUIRÓS, Fernando
Fernando Quirós (Buenos Aires, Argentina, 1960) is a prominent hyperrealist painter whose artistic career has established itself as a benchmark for contemporary still life painting in the Hispanic world. Born to a painter father, he began his training under the guidance of masters such as Kenneth Kemble, later studying between 1971 and 1974 under painter Irma Beltrame and furthering his education at the Escuela Estímulo de Bellas Artes with Pedro Malenchini. In 1977, he moved to San Diego, California, where he enriched his technique influenced by the 1970s American Photorealist and Hyperrealist movement and the instruction of Jonathan Parce. After presenting his first solo exhibition in 1981 at the Biblioteca de San Isidro in Buenos Aires, he settled in Spain in 1985, maintaining an uninterrupted exhibition career ever since, with solo shows across Spain, Italy, France, Andorra, Argentina, and Paraguay. His work stands out for its masterful handling of light, evocative atmospheres, and restrained geometric composition, in which everyday objects—fruit, rolled paper, smooth blocks, and wooden surfaces—take on an almost metaphysical dimension through an oil technique of academic virtuosity, fine glazes, and imperceptible brushwork. Central to his iconography is a powerful and obsessive attraction to bread, an element he renders through the sublime language of hyperrealism not merely as humanity's traditional sustenance, but as a symbolic medium to satisfy physical, sexual, and spiritual hunger. His trajectory includes solo and retrospective exhibitions at institutional venues such as the Museu de Puigcerdà, the Palacio de la Merced in Córdoba, the Fundación Mapfre Guanarteme, the Centro Cultural La Despernada in Madrid, and the Casa Museo Manuel Mujica Láinez in Argentina, as well as participation in major international art fairs including Estampa in Madrid, Valencia Art, and the Feria Puro Arte in Vigo, forming part of distinguished private and institutional collections throughout Europe and the Americas.
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