1972 Eduardo Alvarado is born in Miranda de Ebro on September 29th.
1988 He discovers the works of the artists that from that moment on will become his main reference: Gustav Klimt and Egon Schiele.
1990 He starts his studies on Fine Arts in the UPV. He discovers the work of the artist Antonio López and the comic-strips of the illustrators Bill Sienkiewicz, Dave McKean and Kent Williams.
1992 In Madrid he meets the illustrator Javier Olivares. He collaborates in fanzines and magazines with short histories and illustrations and he is awarded in some contests.
1993 He discovers the work of the artist Barron Storey. He mainly draws and makes collages. By proposal of the comic critic José María Méndez he makes the cover of number 1 “Urich” magazine. In Madrid he visits several times the exhibition Viena 1900 and Antonio López´s retrospective. Richard Diebenkorn dies.
1994 He collaborates with the drawer and scriptwriter David Muñoz Pantiga in the creation of comic strips. He meets the painter Marta Cárdenas and the illustrator Edmond Baudoin. In Madrid he visits several times the retrospective exhibitions of Lucian Freud and Joseph Beuys. He starts painting.
1995 He graduates in Fine Arts by the UCM. The painter Barbara Blickle shows him the work of the draughtsman Horst Janssen, which will die in August that same year. Thanks to the support of his teachers Pedro Martínez Sierra
and Florencio Galindo, he exhibits collectively. He starts drawing from life. During the summer he travels to Vienna and enjoys Segovia´s landscape painting grant. He exhibits successfully together with other Fine Arts students in the Biosca Gallery. His friendship with the model Concha Pérez Rosales allows him to draw and paint nudes. He gets obsessed with a work by the painter Karl Marx “Mann mit schatten (Selbstbildnis-Akt)” / “Man with shadow (Nude selfportrait)”.
1996 He hires a studio in Miranda de Ebro and paints a first series of works of realist appearance. Again in Madrid he starts painting from life. He visits several times the engravings belonging to the “Suite Vollard” exhibition by Picasso.
1997 He discovers the work by the painters Nathan Oliveira, Richard Diebenkorn, Juan Luis Goenaga and Siegfried Anzinger and he gets obsessed with their works. He meets the painter Luis Claramunt. He continues drawing and painting from life, mainly portraits and nude, and collaborates illustrating newspapers and magazines. His drawings and paintings turn to be more expressive. The comic critic Jesús Cuadrado includes him in his “Uso de la Historieta Española (1.873-1.996)” ⁄ “Usage of Spanish Comic Strip (1.873-1.996)”.
1998 The jury formed by Antonio López and Julio López Hernández awards him the first prize of the 3rd Painting Contest about Gran Vía for Young Painters in Madrid. He meets the painter Simon Edmondson. He experiments with abstraction.
1999 He moves to Logroño and marries Cristina Montoya. He travels to Egypt and he gets enthusiastic with pharaonic art. His reunion with the artist Julio Hontana, university colleague, introduces him in new drawing strategies. He meets Juan Luis Goenaga and Antonio López. First individual exhibition in wich he shows 250 drawings in the exhibition room of the School of Art of Logroño. He meets the artist Cecilio Barragán and Eloy Clemente. He creates works with existesialist subjects, with isolated figure as a central topic, and he gets deeply interested in prehistoric and primitive cultures art. With “Demian” he descovers the work of the writer Hermann Hesse that will turn out to be his vital reference.
2000 He opens his webpage. He keeps correspondence for a year with the painter Karl Marx. He pays special attention to the work of Munch and Rodin. In Decenber Luis Claramunt dies.
2001 He shows drawings and paintings in the exhibion room Pozuelo de Alarcón´s Cultural Forum by proposal of Jesús Gironés. He exhibits successfully in FLECHA where he meets the painter Helma Michiels. He travels to New York where he has chance to see works by Nathan Oliveira. The art historian Ignacio Gil-Díez Usandizaga dedicates a review to him titled “The iron painter”. He spends some time with his wife in Burkina Faso. His drawings and paintings turn to be more primitive. He meets the painter Sabin Egaña.
2002 He exhibits individually in Miranda de Ebro, Burgos, Vitoria and Logroño, and togheter with the painter Adolfo Sánchez de Rojas in Burgos. He is awarded with the visual arts grant of La Rioja Government and edits “Eduardo Alvarado: Drawings”, with texts by Julio Hontana, Helma Michiels and Crsitina Montoya. In August he travels to Germany to visit Horst Janssen Museum in Oldenburg and has the chance to see works by Edward Munch and Ernst Ludwig Kirchner.
2003 His first child is born in July and he moves to Uruñuela. He exhibits individually in several Castilla y León capitals and he obtains great succes in his individual debut in San Sebastian in Paupa Gallery. The art historian Edorta Kortadi reviews his work in a review titled “Penk / Alvarado: about European neoexpressionisms”. He participates together with works by Carlos Franco, Luis Gordillo and others in the exhibition “El Foro”, in the cultural space MIRA.
2004 He exhibits with Helma Michiels in Madrid. He starts modeling.
2005 His second child is born in September. He gets in contact and exchanges works with the painter Kim Frohsin, member of the Bay Area Figurative Movement. He visits Rodin museum in Paris.
2006 Again in Miranda de Ebro, he starts a second series of his works of realist appearance. He travels for the second time to Vienna. He exhibits with Juan Luis Goenaga in San Sebastian. In May his friend the painter Sabin Egaña dies.
2007 He exhibits drawings in the gallery Juan Manuel Lumbreras in Bilbao and paintings together with Cecilio Barragan in Logroño.
2008 At the new works, now even painted from natural, together with the usually sophisticated primitivism, there are important news. Eduardo focus his eyes to the objects. The result is a new metaphysical aspect. In the words of Cecilio Barragan “the energy is controlated, and his personal portraits, nudes and still-lifes look immerse in a “big silence”, a religious nudity that relate him with Zurbarán, Morandi, or Derain, or the zen essential speechless”.