20th century Spanish
 
A central figure in the avant-garde scene in Spain since his time at the School of Fine Arts of Madrid, he was also a member of the

 Cuenca Group 

The Cuenca Group, or School of Cuenca, is the name given to the group of artists who moved to that Spanish city in the 1960s. Responsible for developing and raising an awareness about Abstract Art in Spain, the group was led by Fernando Zóbel (1924-1984), Gustavo Torner (1925) and Gerardo Rueda (1926-1996), who were also instrumental in opening the Museo de Arte Abstracto Español in Cuenca in 1966. Little by little, major figures of Spanish abstraction—including, among others, Eusebio Sempere (1923-1985), Antonio Lorenzo (1922-2009), Manuel Hernández Mompó (1927-1992), José Guerrero (1914-1991) and Manolo Millares (1926-1972)—settled in Cuenca, turning the city into a true artistic and cultural hub in Spain. The Cuenca Group laid the foundations of art modernism in 1960s Spain and became a reference for future generations of painters who looked up to the work of these avant-garde artists.

, together with Antonio Saura (1930-1998), Gustavo Torner (1925), Fernando Zóbel (1924-1984), Gerardo Rueda (1926-1996) and Eusebio Sempere (1923-1985).
 
He was called an “abstract landscapist” by Juan Manuel Bonet, because of his use of wide expanses of colour and his low horizon lines, where he concentrated the material and, as a result, the spectator’s attention. His otherwise abstract practice was sometimes dotted with symbolic references to human progress and worlds in which machines take over the space.
 
Among his many influences are the painting of his teacher Vázquez Díaz (1882─1969), from whom he inherited his tendency towards abstraction, and his contact with Gerardo Rueda (1926─1996) and American painting. In fact, it was during a visit to Bernard Childs  (1990─1985), in the 1960s, when he became fascinated with . He was to go on to become a virtuoso in techniques, in which he demonstrated enormous creativity and formal qualities, and this was the prime reason why he was appointed the artistic director of

 Grupo 15 

a group of fifteen art world professionals, including María de Corral, José Ayllón and Carmen Giménez, who created a space dedicated to the creation and promotion of original graphic art known as Grupo 15 (1971-85), through three separate yet complementary channels: a workshop, a gallery and a publishers, with the goal of bringing Spanish society into closer contact with art.

’s workshop in 1972.
 
His work was shown in many individual and group exhibitions, both in Spain and abroad, with a particular mention for his participation at the Venice Biennale in 1964, 1966 and 1972, and at the World Fair in New York, in the Spanish and French pavilion. His works can be seen in major contemporary art museums, like the Reina Sofía in Madrid, the Museo de Arte Abstracto in Cuenca, the British Museum in London and the MoMA in New York.