Born in 1938 in Bilbao (Vizcaya), he's been student of the Picassiana school of Juan Mirņ. His beginnings connect him tightly with the Ortega painter.
He began with him painting for the roads of Vizcaya.
Social realism to demonstration of the own solidarity with the miners of the Asturie.
That induced him, in the 1964, to move to Paris where he still worked in Ortega's study.
Past definitely in Italy, he improved his studies to the academy of Brera under the guide of Master Usellini.
Very numerous the exhibitions, the contests, the prizes which he has participated, always achieve the most prestigious recognitions.
His artistic formation, even if sensitive to the social realism of Ortega, goes back to Juan Mirņ's stock. He's therefore an artist that extends to transfigure the visual elements in virtue of the color and the light to reach a fantastic vision in which reality engages a new dimension and it's confused with the dream.
Also very interesting his technique researches that invest also the graphics and sculpture fields, for which his art has aroused lively curiosity in critical circles too, earning the attention of many accredited competent.
The surrealism of Juan Mirņ and the realism of Ortega, which is added the suggestion practiced on the artist by the mighty realistic-social symbology of Siqueires, beside who he worked after a first political escape from Spain, constitute the base on which has been built, in manner quite autonomous, the painting of Gutierrez De Velasco Fernando.
The mentioned components are easily recognizable in his art, but the creative inspiration of our master has projected them in quite unpublished directions, on the other hand, they reveal the insatiability of his searches because they never rest on an initial or a formula, but they appear prey of a continuous transfiguration with the intent of make imagination could space in more and more vast and unpredictable fields.
Of course, to realize similar intents, it is necessary to possess an inexhaustible creative inspiration and it is quite this characteristic that we find, in manner as never evident, in the painting of the Spanish exile become Italian for election.
The intensity of his color is equal to the unforeseeability of his intuitions, that mainly places trust in the dream and in the memory to stimulate evocations from which the existential contradictions derive a their own puzzling coherence of style.