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Working at the Prado was really beautiful, but there were some moments of great pressure. I never aspired to become Director or Head of the Workshop or to earn a great deal of money. I don’t know whether you could call this a defect, because then I would have been involved in different battles. I simply loved my work, for the sake of doing it and due to the fact that I was in the middle of everything. It was marvellous to be able to learn, listen, see … Nevertheless, I was also sometimes subject to an ambience that made me think, “yes, I’m going to retire” when I reach retirement age. But, of course, they’re very important works and, at certain moments, we attracted a great deal of attention. It’s a lot of pressure and that’s very tiring. On the one hand, it was a privilege; on the other, it was extremely tiring.
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
