The most notorious and paradoxical Quintanar Francisco graphic work is the sum of images that focuses on each work,
which amounts to a destruction and reconstruction. Before our eyes are formed and deformed images which the author
refuses to let the peace of the books.

Views from near to the distance required to read them, we find a shock that would be to try to see three films
simultaneously. Only through observation of the details, such as a red picture of a hand pointing a richly ornate drop cap
E, we began to unwind the artist's intention: that is, combine all of the visual languages ​​of antiquity (the typography,
religious stamp, outlines sacred pure forms) to offer multiple readings of the human body.

That body that contains all the attributes and potential to recognize different religions, from yavídicos, through the Cabala,
Platonism classic Christian icon, Neoplatonism Renaissance Mannerism Baroque and aesthetics of photography, that
body is to Quintanar symbol rational and sensible knowledge we have of ourselves and the universe and its forces.

Why dig up these pictures right now, when the world is not what it seems need more images. If we look at one of the
largest recorded find the key: in each of the corners we see the letters MYTH. Which leads us to think that every society
needs to be a number of mythologies that build their ideal, their utopia, their evolution.  Let us now see small prints, made ​​
in lithography on gold leaf and transfers. Most holds signs and symbols combined with hieratic postures male and female
body, linked by concentric circles representing the human body's chakras or energy zones. With them we see images of
bones, skeletons and skulls darwineana allude to the theory of evolution.
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Francisco Quintanar

huecograbado,transfer de impresión digital sobre papel japonés
montado en hoja de cobre dorado y lino-algodón

Resides in Netzahualcoyotl City, state of Mexico, Eastside of Mexico City.                                                         
He studied Visual Arts at the National School of Plastics Arts,
UNAM, 1991 1994.                                                                                                         

He has taken part in more than 100 collective art shows in museums and cultural spaces, in Mexico and abroad, including
Spain, Portugal, France, Poland, India, Peru, Japan, China, Turkey, Thailand and

His work has been awarded honorific mentions and acquisition prizes at international competitions, among them: Bharat Bhavan
Grand Prize Award, in Bhopal, India; First place and Gold Medal, in Bienal de Bellas Artes, Lima, Peru; Honorific Mention, Salón
Internacional de Arte, La Paz, Bolivia. In Mexico, his work has been awarded with seven acquisition prizes, four honorific
mentions, and so far, Francisco has received 4 artist grants (Young Creators FONCA 1997-1998, Young Creators FOCAEM
2000, and FOCAEM 2010 & 2011).
His work is in the following collections:

Museo José Guadalupe Posada, Aguascalientes, Mexico
Museo Iconográfico del Quijote, Guanajuato, Mexico
Archivo Gráfico de la UNAM, Mexico City, Mexico
Instituto de Cultura Puertorriqueña, San Juan, Puerto Rico
Panstwowe Muzeum Na Madjanku, Lublin, Poland
Roopankar Museum of Fine Art, Bhopal, India
Escuela Nacional de Bellas Artes, Lima, Peru
Museo del Pueblo de Guanajuato, Guanajuato, Mexico
Museo de la Estampa del Estado de México, Toluca, state of Mexico
Centro de Gravura Contemporánea, Amadora, Portugal
Biblioteca de la Universidad Iberoamericana, Golfo-Centro Campus
Museo de Arte Contemporáneo ‘Alfredo Zalce’, Morelia, Mexico
Fundación Cultural Trabajadores de Pascual y del Arte A.C., Mexico City, Mexico
Museo del Carmen, San Ángel, Mexico City, Mexico
Museo de Arte Moderno, Santo Domingo, Dominican Republic
Universidad Autónoma Metropolitana, Iztapalapa Campus, Mexico City, Mexico
Universidad Autónoma Metropolitana, Lerma Campus, state of Mexico, Mexico