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61

Intervalos negros, 1971

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…viewer immediately finds themselves attracted by the arrangement of the pigment on the surface of the canvas; a dispersal which, by aptly leaving its base, creates a seductive world through…

62

Solitarios, 1971

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On a symbolic, or even spiritual level, the arch or the oval signify refuge, the promise of protection and shelter, and this is probably why someone as emotional as Guerrero…

63

Black Arches, 1970

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…have recently been fascinated by the parallel lines of matches. Together or separately they form ordered, rhythmic models. For me they are infinite variations on a single theme. JOSÉ GUERRERO…

64

Paisaje horizontal, 1969

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…be more – what interested him was for the colour to flow, for the painting to breathe, for the picture to be like a boxing ring, tensed along all four…

65

La brecha de Víznar, 1966

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…wound. It is an approach, the first sight of the location of a tragedy, against which there is no alternative but the irreparable anguish of pain and rupture. Recomposition is…

66

Aurora gris, 1964

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…was looking at the Alhambra, the landscape of Sierra Nevada, and I missed them all, just because I was thinking about colour and the beauty of the landscape. JOSÉ GUERRERO…

67

Arco, 1964

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…the things that had impressed me in my childhood…, the dead and the niches…, and the idea of that arch…, it was all very clear to me already… JOSÉ GUERRERO…

68

Black Ascending, 1962-1963

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…but real abstraction was to come over there, in touch with those painters that had made such an important revolution that not even the Europeans could understand it. JOSÉ GUERRERO…

69

Albaicín, 1962

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…of his hand surprised even the artist himself – ever more visible gestures enlivening the entire surface of the canvas until they threatened the legibility of the signs. GUILLERMO SOLANA…

70

Grey Sorcery, 1962

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…and even symbolic movements. The titles fulfilled the function of an initial evocation, but later deployed other more pictorial tools to place the picture beyond the theme. SANTIAGO B. OLMO…