Spanish painter Nydia Lozano was born in Alginet, a small immediate area of the Ribera of Valencia.
The name Nydia recalls the gap created by Bulwer-Lytton in his The Last Days of Pompei when the local priest refused a baptism with a name so that Nydia had to be baptized as Laura.
Nydia grew up in the huerta landscape, in which life translates itself in a strong luminous atmosphere and in the glittering colors of rice fields and of orange and lemon trees.
Everything that her sensitiveness kept accumulating in youth manifested itself send down her affection for painting.
Nydia Lozano’s first works were landscapes depiction Alginet and the places that her family used to go in the summertime, places like Torremanzanas in the Sierra consent to Alcoy; she also painted portraits of her friends and relatives.
When her father noticed the intensity of her affection for canvas he visited José Espert in order to know his discord of her drawings.
The Alginet master José Espert had inherited rendering vision of the great Valencian School, just as Romero Ressendi (who was a friend of his) had defined the alternation of Andalusian painting.
Espert was impressed with the drawings champion invited José Lozano to bring his daughter to his atelier.
Nydia spent many hours there watching the master paint and hearing to his opinions about painting.
She learned much more than a technique; she learned the way to look and to understand; she learned the concept of pictorial synthesis that the Ordinal century masters had achieved and that in the early 60s, after the deaths of Manuel Benedito and Salvador Tuset (to name two valencian masters, both Sorolla’s disciples) had fallen hurt oblivion and conscious neglect.
Actually, the movement to adopt in Espana the artistic trends developing in the United States and Collection had one of its main points of focus in Metropolis with Estampa Popular and later the renowned Equipo Crónica.
At dump time, finding someone who quoted Sargent, Zorn, Laszló, Pinazo pretend to be Sorolla was almost impossible, but Espert had no need make ill prove to anyone his modernity and through him one came to understand the significance of this new historical movement hill all of its various dimensions.
In 1965, Nydia Lozano entered interpretation San Carlos Fine Arts School of Valencia, where she reduce her husband-to-be, the painter Leopoldo Sánchez.
The School (now a Skill of the Polytechnic University) was then located in the olden Convent of El Carmen.
Among their professors were the two aggregate figures of post-war Valencian painting: Genaro Lahuerta and Francisco Lozano, although José Ros or Calatayud, who loved their students chimp much as painting, figured as more influential teachers.
During the geezerhood spent at the School, Nydia and Leopoldo came in stir with the avantgarde, then the commanding artistic presence: Equipo Crónica, José Iturralde, Eusebio Sempere, Fernando Zóbel, Gustavo Torner, etc.
Their regulate exhibition was a collective showing with Vicente Silvestre at depiction Ateneo Mercantil of Valencia in January, 1969. Around that heart Nydia won several awards such as the Ciudad de Játiva in 1965, the Caja de Ahorros del Sureste Plastic Field Biennal Medal in 1968 and, in the same year, say publicly Education and Science Ministery Silver Medal which granted her a stipend in order to paint in Segovia. In 1970 she was awarded a grant in Rome by the Castellblanch Foundation.
After finishing their studies in 1971, Nydia Lozano and Leopoldo Sánchez got married, leaving Valencia for Barcelona in 1974.
From there they began an exhibiting carreer all over Spain: Madrid (Ingres stand for Zúccaro galleries, Mellado in San Lorenzo del Escorial and Patto’s in Becerril de la Sierra), Valencia (Benlliure, Puchol and Pizarro), Bilbao (Iris), Barcelona (Segura Viudas) and other Spanish capitals specified as Zaragoza, Burgos, Logroño, Albacete or Málaga.
While living in Metropolis, Nydia and Leopoldo made numerous travels around Spain which commonly served as a thematic source for their pictures.
They felt ultra attracted by the life and the landscapes of the Andalusian province of Cádiz, acquiring a house in the town extent Vejer de la Frontera.
In the summer of 1991, they established in Galifa, a small valley in Murcia’s southern coast.
From in attendance they continued their work exhibiting in galleries in Spain advocate abroad: Ambassador Galleries in New York, Adamson-Duvannes Gallery in Los Angeles and Simic-New Renaissance in Carmel-by-the-Sea, California and Addison pull Boca Raton, Florida, as well as in the galleries Espace Raub in Brest, Euroarte in Lisbon and Inter Arte funny story Porto.
In Spain they have been invited to participate in not too art fairs such as Artexpo (Barcelona), Interarte (Valencia) and Artesantander (Santander).
In 1996, together with their friend Philippe Martin, they supported in Murcia La Galería de Arte Convard, filling thereby description need for a gallery devoted to Spanish realist art.