Luis Antonio Sanguino de Pascual (Spanish: [ˈlwis anˈtonjo saŋˈɡino ðe pasˈkwal]; born 1934) is a Spanish sculptor who is known for many monumental works, mostly in bronze, both in Spain and in the Americas. After living abroad more than once, including sojourns in other European countries as a child, arising from the Spanish Civil War's upheavals, and periods during his adult life in the United States and Mexico, he currently lives near Segovia in the land of his birth.

Sanguino's parents, the lawyer Aquilino Sanguino and Rosa de Pascual, were a noble family of Barcelona, while their son was the seventh of eight siblings. When the Spanish Civil War broke out in 1936, they fled Barcelona, leaving behind all their belongings in their rush to take flight.

Their journey both outside and inside the country led to them living in Marseille, Monaco and San Sebastián, but in the end they settled in the Andalusian province of Córdoba, where Sanguino would live his childhood on a farm called La Raña, and he would study at the Salesian college of Pozoblanco.

From earliest childhood, Sanguino showed signs of great artistic gifts. During the Civil War, when his once comfortable family had to use many candles for lack of any better lighting, he took advantage of the melted wax from them to make little sculptures. His skills improved, and he accomplished at the age of only eight a work in terracotta, known as "Las Ruinas", dated between 1942 and 1943. It was made up of a bas-relief in baked clay (terracotta) that depicts a bucolic or pastoral countryside scene in which one sees a shepherd with his flock in the middle of nature, and before the ruins of what must once have been a monastery. In executing this work, Sanguino was inspired by an engraving from an old book that his mother had.

Sanguino's family moved house in 1944, relocating this time to Spain's capital, Madrid, where they would only live for a short time before moving once again, this time to Cádiz. It was during his short time in Madrid, however, that Sanguino's acquaintances put him in touch with the sculptor Mariano Benlliure, who despite considering Sanguino's aptitude in sculpture to be quite great, would not become his teacher owing to his already advanced age (Benlliure was 82 by this time), and instead recommended that fellow sculptor Federico Coullaut-Valera Mendigutia take on the task. Coullaut-Valera's father had also been a sculptor, Lorenzo Coullaut Valera (1876–1932), who had created, among other works, the sculpture "El Quijote", a work representing Don Quijote and Sancho Panza from the well known Spanish epic novel astride their mounts. It stands at the Plaza de España in Madrid as part of the Monument to Miguel de Cervantes.

Sanguino presented himself at his first plasterers' contest, which was being held in Cádiz, becoming a finalist (the work that he displayed was entitled "La perezosa", or "The Lazy Woman", made of plaster and one metre in height, and depicted a female figure), subsequently taking part in a further contest in Seville. There his work consisted of an execution of a decorative moulding one metre in height with flower and tear motifs, among other decorative elements. Even given the work's quality, however, he did not win a prize, although he did get chosen to participate in yet another contest, this one to be held in Madrid. This time, he won first prize at the residential college ("Colegio Mayor") "La Paloma", which could be considered the working-class university at that time. It was decided that Sanguino should move to Madrid, where he had already held exhibitions in December 1947 at the "Kebos" art salons, so that he could undertake his studies at Federico Coullaut-Valera Mendigutia's side.

Sanguino's beginnings as a sculptor were not easy and he gave himself over to making little works to sell so that he could earn a living and at the same time continue his studies. He thus realized in polychrome plaster "Portales de Belén" ("Gates of Bethlehem") which he sold at the Plaza Mayor in Madrid, coming to establish a small industry in which his siblings collaborated. To earn money, he also made small sculptures from baked clay, but instead of selling them, he would himself go to pawnshops and pawn them there. Nevertheless, he rented a small studio on the Calle de la Luna (a narrow lane off the Calle de San Bernardo), a street where other already established artists lived, like the painter Enrique Navarro, Miguel Herrero, José Luis Mazuelos and Demetrio Salgado.

Besides helping his teacher Coullaut-Valera, Sanguino worked for an antiquarian, Arturo Linares, a member of the Cortes Españolas (Francoist Spain's legislature), making statues of saints for him. The antiquarian would size old timbers, while Sanguino would carve and polychrome them, and then put them in the kiln. The resulting works looked thoroughly authentic. He made roughly 17 of these sculptures, whose heights were each between 50 and 60 centimetres, which were meant to simulate works by the great masters of the Spanish Golden Age: Alonso Cano, Gregorio Fernández and other great realist visual artists in Spanish Baroque sculpture.