Diego Lara trained at workshops given by various artists and also studied history at the Faculty of Arts in Madrid, though he did not complete his degree. He is known mainly for his work as a graphic designer, but for almost 20 years he also worked as a visual artist. This facet of his work is less well known.
His successes as a graphic designer included the founding of the La Fontana Literaria and Nostromo publishing houses in the early 1970s together with Mauricio d’Ors and, in the second case, Juan Antonio Molina Foix. His career continued to blossom over subsequent years, when he became head of graphics for publications at the Juan March Foundation. From 1982 to 1986 he was also responsible for the line of graphic publications at the ARCO Fair, and worked with Chiqui Abril and Mercedes Buades on projects such as the art journal Buades. Periódico de arte. At the same time, he began to work regularly with the publishing house Ediciones El Viso, where he produced many of the catalogues published for iconic exhibitions at the Ministry of Culture's National Exhibition Centre under the direction of Carmen Giménez. Further highlights of his many activities include his work at the journal Poesía, published by the Ministry of Culture from 1977 to 1982.
Few exhibitions of his work were staged at that time, but he did take part in joint exhibitions such as 'Cota Cero (± 0,00) sobre el nivel del mar' ['Zero Above Sea Level'] in Madrid and Alicante, curated by Kevin Power. In 1990 the La Caixa Foundation organised a posthumous anthology of his work in Madrid. This was followed by other exhibitions, including one at the Buades Gallery in 1992. In 2012 the Casa Encendida venue in Madrid presented a thorough retrospective of his work curated by Amaranta Ariño, under the title 'Diego Lara. Be a Commercial Artist'.
Diego Lara trained at workshops given by various artists and also studied history at the Faculty of Arts in Madrid, though he did not complete his degree. He is known mainly for his work as a graphic designer, but for almost 20 years he also worked as a visual artist. This facet of his work is less well known.
His successes as a graphic designer included the founding of the La Fontana Literaria and Nostromo publishing houses in the early 1970s together with Mauricio d’Ors and, in the second case, Juan Antonio Molina Foix. His career continued to blossom over subsequent years, when he became head of graphics for publications at the Juan March Foundation. From 1982 to 1986 he was also responsible for the line of graphic publications at the ARCO Fair, and worked with Chiqui Abril and Mercedes Buades on projects such as the art journal Buades. Periódico de arte. At the same time, he began to work regularly with the publishing house Ediciones El Viso, where he produced many of the catalogues published for iconic exhibitions at the Ministry of Culture's National Exhibition Centre under the direction of Carmen Giménez. Further highlights of his many activities include his work at the journal Poesía, published by the Ministry of Culture from 1977 to 1982.
Few exhibitions of his work were staged at that time, but he did take part in joint exhibitions such as 'Cota Cero (± 0,00) sobre el nivel del mar' ['Zero Above Sea Level'] in Madrid and Alicante, curated by Kevin Power. In 1990 the La Caixa Foundation organised a posthumous anthology of his work in Madrid. This was followed by other exhibitions, including one at the Buades Gallery in 1992. In 2012 the Casa Encendida venue in Madrid presented a thorough retrospective of his work curated by Amaranta Ariño, under the title 'Diego Lara. Be a Commercial Artist'.