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When I joined the Restoration Workshop, my sister Rocío was already there. Rafael Alonso and Alfredo Piñeiro were also there at that time, and Javier Carrión was also there for a number of years. At that time I would receive a series of marvellous photographs from the laboratory. Not only for the curators, but also for the Restoration Workshop. This documentation was marvellous. The lab was run by Carlos Manso. We were a real team. There was a restorer, Teresa, who was more closely linked to the incipient Technical Department, which was initially run by Carmen Garrido.
I joined for the Mengs Exhibition, which was being prepared by curator [Xavier de] Salas. I think I restored one or two works for this exhibition, but, then later, I stayed on as part of the staff. I don’t remember which Mengs pictures exactly. Some portrait. However, I do remember that, through the auspices of Pita Andrade, Alfonso Pérez Sánchez and the entire management team, it was decided that I would restore Philip IV As a Hunter by Velázquez
She works as a restorer at the Museo del Prado, participating in major projects such as the restoration of Las Meninas in 1984, directed by John Brealey (from the Metropolitan Museum of Art) and the restoration of the Adam and Eve panels by Dürer.
Interview recorded on November 29, 2017
