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I've often worked with supports, but i did it my way. Not the way they wanted to obligate me to do. Sánchez Cantón and Sotomayor didn't want the boards to be touched. They'd take them down to the basement in summer because it was cooler and damper there and it was better for the board paintings. But I saw that the dilatation of the paintings had to be controlled using tensors. Generally a board has a sector that is better sealed, so it takes longer to absorb any humidity. But that can be controlled, and the moment a painting dilates, it can do so but little by little, in a controlled manner. The same thing happens in winter. Both in winter and in summer, tensors help control the dilatation.
He began to work at the Museum as a carpenter and later, after a while as a gallery attendant, he joined the restoration workshop, carrying out carpentry work which was his specialty. His father also worked at the Museo Nacional del Prado and helped evacuate works of art during the Spanish Civil War.
Interview recorded on February 11, 2015
