Félix de la Concha was born in León, Spain, in 1962. As a child, he painted landscapes as he accompanied his father on fishing trips. From 1981 to 1985, he studied at the Facultad de Bellas Artes in Madrid. In 1989, he was awarded the prestigious Prix de Rome at the Academia de Bellas Artes and lived and worked in Rome until 1994. While there, he created large-scale works including Nine Months in Donna Olympia, The Cypress at the Circus Maximus, and A Promenade at Doria Pamphili, all of which have been exhibited in museums around the world. Another of his most important works, Patios de la Lonja, is on permanent display at the Lonja de Alicante in Spain.

He has had solo exhibitions in the Carnegie Museum of Art in Pittsburgh, The Frick Art and Historical Center in Pittsburgh, Columbus Museum of Art, Museo de Bellas Artes in Santander, Museo del Chopo, México, D.F., Centro Cultural La Recoleta in Buenos Aires, and Rómulo Gallegos in Caracas. His monumental display, One a Day; 365 Views of the Cathedral of Learning is on permanent display at the Old Masonic Temple in Pittsburgh, and The Last Supper, a work created in 2000, is permanently installed at Pittsburgh’s David L. Lawrence
Convention Center.

His work is included in the permanent collections of the Carnegie Museum in Pittsburgh, Columbus Museum of Art, Dartmouth Library, Amigos del Reina Sofia, Colecció Testimoni de la Caixa, Banco de España, Colección Argentaria, and Teatro Real de Madrid.

”Félix de la Concha’s painting is part of a vibrant contemporary movement of Spanish realist painting. Its adherents combine a rigorous, disciplined technique with a deeply sensitive approach to subject matter.”

Thomas Smart, Director of Museum Programs,
The Frick Art and Historical Center

“It is Félix de la Concha’s exceptional achievement to have reinvigorated this centuries-old tradition with a contemporary understanding of the possibilities of painting.”

Mark Francis, Gagosian Gallery Director, London

“His canvases, recording subtle fluctuations of light and color, show his extraordinary assurance as a colorist and draftsman, characteristics for which he has become well-known across the United States and Spain.”

Dartmouth Club of the Upper Valley

“In his paintings, he continues the tradition of realism that extends back to Spanish masters like Diego Velazquez, augmented by superb technique and powers of observation.

“By his own intense, dogged observations, and by tweaking perspective -- sometimes differently in adjacent canvases – he makes the viewer aware of the complexities of looking and of seeing. Or of not seeing.

“By blending familiar subject matter and academic refinement, he presents a consideration of architecture and place that raises intriguing questions about perception.”

Mary Thomas, Post-Gazette Art Critic

“His consistent approach to his subject, his impressive command of perspective, his expert handling of both draftsmanship and the oil medium, and his sense of light and color give the paintings the illusion of reality. Only upon careful analysis does one appreciate the conceptual virtuosity of the work and its overall rhythmic quality.”

Annegreth Nill, Curator of 20th Century and
Contemporary Art, Columbus Museum of Art

“His eye for light is nuanced, so each view truly reflects a particular moment, not the era’s will to eternity. And yet his brushwork is also breezily masterful.”

Charles Rosenblum, Pittsburgh City Paper

“His works become documents of time and place, and
un-romanticized metaphors for individual lives and the greater community.”

Hank T. Foreman, Director and Chief Curator,
Turchin Center for the Visual Arts

 

 

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Photo by Don Giles/State Museum of Pennsylvania

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