Born and death in Venezuela (1928-2016).
He studied in the School of Plastic and Applied Arts of Caracas between 1946 and 1949. After discovering in 1949 the book by Joaquín Torres García, Constructive Universalism, he realized in 1951, works where he explores the manual and sensitive geometry of the Uruguayan painter who, together with the Precepts of Rufino Tamayo and Paul Klee, lead him to establish the first principles of bidimensionality.
"Neocubismo provided the platform for investigating forms, masks, geometry and a painting of space that would conform the elements of its plastic language of the mid-seventies." In this stage, which is related to magical realism, Quintana Castillo constructs the figures geometrically on a background without relief and wrapped in a dreamlike atmosphere, that year represented Venezuela in the Biennial of Venice. In 1956 his work is sent to the III São Paulo Biennial.
The artistic production of the years after teaching, are oriented towards geometric abstraction. In 1976 he participated in "Kunst der Gegenwart aus Latinamerika, Kongrebjall am oistiengang" (Germany), with Carlos Cruz-Diez, Oswaldo Vigas, Luisa Richter and Ivan Petrovszky.
Since the beginning of the nineties, the painter's works have investigated the textures of color and the abundance of material achieved with layers superimposed. In 1993 he presented himself at the Altamira Gallery in Caracas with "Topological Paintings", works in large format. Juan Carlos Palenzuela wrote in the catalog: "Among the signs that persist in the painting of Quintana Castillo, the line is the key element of his pictorial writing, the line that appears and disappears from the surface, which is border and center; Light and color, which is firm and atmosphere and which, when passing from one painting to another, forms the basis of his most recent series, the sense of continuity in Topological Painting and White Reduction