We have here a spatial arrangement the artist used later in a series of etchings entitled Voces rotas (1991), one of which reproduces forms very similar to those in this painting.

A twisted quaver is the main feature of this beautiful conjunction of sign, texture and very restrained colour. It is a “winged” quaver, in which that “contorno propio”, that particular shape from the world of music leaps into the air to be heard and is stripped of its identity, free, twisted, broken. Triangle and circle are combined in this composition; they are elements floating on that primordial liquid which pervades and delimits the white space of the canvas.

It is worth highlighting the use of varnish, applied freely but sparingly, creating transparencies which seek to evoke other elements. It is not just a layer that covers the painting but one more painterly element providing colour and texture. His varnish recalls that of Antoni Tàpies (1923-2012) in the eighties and also that used by Lamazares (1954). Together with the latter and with José Manuel Ciria (1960) he held an exhibition in 1994 in the Palacio de Velázquez in Madrid, in which gesture and order were the central themes.

This is a very poetic piece, which owes something to early

 Lyrical Abstraction 

A tendency that emerged within abstract painting in 1945 in France, as a reaction against the excessive coldness of

 Geometric Abstraction 

A term introduced in the 1920s to name a kind of abstract art based on scientific and mathematical principles. The main goal was to eliminate all subjectivity in favour of art based on the essence of geometric forms. Its main champions were Wassily Kandinsky (1866-1944), Kazimir Malevich (1879-1935) and Piet Mondrian (1872-1944).

and attempting to give more room to the expression of the artist’s emotions. The movement favoured colour over form through techniques like watercolour and oil paint, which would be the most widely used by its practitioners. Major sources of inspiration were the painting of Vassily Kandinsky (1866-1944) and automatism in Surrealist painting. Key names within the movement are Pierre Soulages (1919), Georges Mathieu (1921-2012) and Hans Hartung (1904-1989).

, and a fine example of the work of a restless and constantly evolving poet-painter.