[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\n
The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings.<\/p>\n
The famous Esperanza Su\u00e1rez Montoya, her daughters, her granddaughters. All of them were painted time after time by Amalio, especially Esperanza herself. All this work constitutes what he called \u201cThe World of Esperanza\u201d. This collection is as deeply realistic that makes one\u2019s heart tremble while watching the race portrayed in black, totally in black, with a beautiful face marked by the years and a sweet look lost in the memories of a life, of a crying without tears, with the sorrow contained in a lump in one\u2019s throat.<\/p>\n
[\/vc_column_text][vc_column_text]<\/p>\n
\n How can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\n In order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\n Amalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\n He painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\n The historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\n That is why the privileged ones that have been able to get close to the<\/em><\/p>\n mystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\n privileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\n Garc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\n verse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\n of his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\n And he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\n personal point of view.<\/em><\/p>\n [\/vc_column_text][vc_column_text]<\/p>\n \n The men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\n Andalusian, grief as profession.<\/em><\/p>\n She is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n [\/vc_column_text][vc_column_text]<\/p>\n \n
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![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbThe Gypsy World under Amalio\u2019s Eyes\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nHow can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\nIn order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\nAmalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\nHe painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\nThe historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\nThat is why the privileged ones that have been able to get close to the<\/em><\/p>\nmystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\nprivileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\nGarc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\nverse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\nof his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\nAnd he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\npersonal point of view.<\/em><\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-esperanza\/DSC03257.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbThe Gypsy World under Amalio\u2019s Eyes\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nHow can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\nIn order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\nAmalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\nHe painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\nThe historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\nThat is why the privileged ones that have been able to get close to the<\/em><\/p>\nmystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\nprivileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\nGarc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\nverse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\nof his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\nAnd he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\npersonal point of view.<\/em><\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-esperanza\/Andalucia-libre.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbThe Gypsy World under Amalio\u2019s Eyes\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nHow can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\nIn order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\nAmalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\nHe painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\nThe historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\nThat is why the privileged ones that have been able to get close to the<\/em><\/p>\nmystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\nprivileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\nGarc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\nverse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\nof his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\nAnd he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\npersonal point of view.<\/em><\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-esperanza\/HW4G3879.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbThe Gypsy World under Amalio\u2019s Eyes\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nHow can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\nIn order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\nAmalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\nHe painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\nThe historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\nThat is why the privileged ones that have been able to get close to the<\/em><\/p>\nmystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\nprivileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\nGarc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\nverse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\nof his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\nAnd he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\npersonal point of view.<\/em><\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-esperanza\/HW4G3890.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbThe Gypsy World under Amalio\u2019s Eyes\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nHow can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\nIn order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\nAmalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\nHe painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\nThe historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\nThat is why the privileged ones that have been able to get close to the<\/em><\/p>\nmystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\nprivileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\nGarc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\nverse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\nof his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\nAnd he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\npersonal point of view.<\/em><\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-esperanza\/El-trato.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbThe Gypsy World under Amalio\u2019s Eyes\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nHow can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\nIn order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\nAmalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\nHe painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\nThe historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\nThat is why the privileged ones that have been able to get close to the<\/em><\/p>\nmystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\nprivileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\nGarc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\nverse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\nof his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\nAnd he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\npersonal point of view.<\/em><\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-esperanza\/HW4G3886.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbThe Gypsy World under Amalio\u2019s Eyes\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nHow can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\nIn order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\nAmalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\nHe painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\nThe historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\nThat is why the privileged ones that have been able to get close to the<\/em><\/p>\nmystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\nprivileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\nGarc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\nverse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\nof his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\nAnd he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\npersonal point of view.<\/em><\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-esperanza\/HW4G3894.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbThe Gypsy World under Amalio\u2019s Eyes\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nHow can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\nIn order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\nAmalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\nHe painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\nThe historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\nThat is why the privileged ones that have been able to get close to the<\/em><\/p>\nmystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\nprivileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\nGarc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\nverse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\nof his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\nAnd he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\npersonal point of view.<\/em><\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-esperanza\/HW4G3901.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbThe Gypsy World under Amalio\u2019s Eyes\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nHow can we reach and go deeper into the spirit of the gypsy world? How can we understand it?<\/span><\/strong><\/p>\nIn order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.<\/p>\nAmalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.<\/p>\nHe painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.<\/p>\nThe historian \u00c1lvaro Huerga was the first one to use the bold comparison between Amalio and Garc\u00eda Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading \u201cthe odd collectors\u201d, he wrote:<\/p>\nThat is why the privileged ones that have been able to get close to the<\/em><\/p>\nmystery are only a few, and perhaps even with limitations. Among those<\/em><\/p>\nprivileged I would highlight Garc\u00eda Lorca and Amalio Garc\u00eda del Moral.<\/em><\/p>\nGarc\u00eda Lorca made sparks fly from the anvil in a resounding and emphatic<\/em><\/p>\nverse of the gypsy intimacy. Garc\u00eda del Moral has captured in the inspiration<\/em><\/p>\nof his paint brushes the anguish and the smile, the partly beating mystery.<\/em><\/p>\nAnd he has captured it with the same voice as Garc\u00eda Lorca but with a<\/em><\/p>\npersonal point of view.<\/em><\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-esperanza\/HW4G3903.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Cantaoras.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Copia-de-Cuajos-del-alma.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/De-Molvizar.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Gitanillo-del-Sacromonte.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Gitano.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/HW4G4182.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/HW4G4189.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Los-Mengues.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Manola.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Mataora.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Pastor1.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Virgen-Gitana.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Gitanas-del-Albaicin.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Nino-campesino.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][tw_section_title title=\u00bbProletarian Apostolate\u00bb st_tit_font_size=\u00bb60″][vc_column_text]<\/p>\nThe men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Due\u00f1as, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:<\/p>\nAndalusian, grief as profession.<\/em><\/p>\nShe is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.<\/p>\n[\/vc_column_text][vc_column_text]<\/p>\n\n\n\n\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/el-mundo-de-los-gitanos-bajo-la-perspectiva-de-amalio\/Ramon-Sanchez.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Antonio-Filigrana2.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Carmela-Moreno1.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Encarna-Moreno1.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Lola-Moreno1.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Manuel-Rrodriguez.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Picador1.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Torero.1.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Torero1.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Jose-Moreno.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\t\t\t\n\t\t\t\t \n \n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Miguel-Perez.jpg\"\n){kind=link}
![\n \n <\/a>\n <\/div>\n\t\t\t\t\t\t\t<\/div> \n\t\t\t\n\t\n\t\n\n\t\n\t\t\n\t<\/div>\t<\/div>\n[\/vc_column_text][\/vc_column][\/vc_row]<\/p>\n <\/p>\n","protected":false},"excerpt":{"rendered":"[vc_row sy_vc_row_extra_padding=\u00bb2″ css=\u00bb.vc_custom_1544443123033{margin-top: 50px !important;}\u00bb][vc_column][tw_section_title title=\u00bbThe World of Esperanza\u00bb st_tit_font_size=\u00bb60″][vc_column_text] The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings. The famous Esperanza Su\u00e1rez Montoya, her daughters, her […]<\/p>\n","protected":false},"author":1,"featured_media":1777,"parent":0,"menu_order":0,"comment_status":"closed","ping_status":"closed","template":"page-templates\/full-width.php","meta":{"ngg_post_thumbnail":0},"_links":{"self":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693"}],"collection":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages"}],"about":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/types\/page"}],"author":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/users\/1"}],"replies":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/comments?post=1693"}],"version-history":[{"count":5,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions"}],"predecessor-version":[{"id":2059,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/pages\/1693\/revisions\/2059"}],"wp:featuredmedia":[{"embeddable":true,"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media\/1777"}],"wp:attachment":[{"href":"https:\/\/www.fundacionamalio.com\/index.php\/wp-json\/wp\/v2\/media?parent=1693"}],"curies":[{"name":"wp","href":"https:\/\/api.w.org\/{rel}","templated":true}]}}](\"https:\/\/www.fundacionamalio.com\/wp-content\/gallery\/apostolado-proletario\/Nina.jpg\"\n){kind=link}