This self-taught artist from Valencia combined his profession as a medical doctor specialised in otorhinolaryngologywith his facet as an artist, in which he worked under the pseudonym Antonio Sacramento. He used his real name and surnames, Fernando Antonio Sacramento Antolí-Candela Piquer, only for his profession, as he came from a long line of medical doctors and did not wish to compromise the family name with his daring abstract works at a time in Spain when freedom of expression was not looked on kindly.
 
Although he started out making posters, drawings and watercolours, and had his first exhibition of watercolours in 1942 at Sala Mateu in Valencia, his abiding interest was the creation of iron sculptures, especially after 1960. He fused contemporary sculpture with a highly personal language based on rhythmic, spatial and somewhat mimetic forms.
 
His works started out from the emptied pieces by Pablo Gargallo (1881-1934), the large volumetric voids of Henry Moore (1898-1986) and the radiating metallic movement of Julio González (1876-1942) and took them a step further.
 
In this work, Homenaje a Picasso, he used sheets of iron which he cut, polished, shaped, doubled, widened and lacquered in function of the desired effect he was after and which he structured in curved and spiral lines to define a spatial boundary. They are pure forms with a musical, rhythmic quality. More allegorical than figurative, his practice was a masterful fusion of material and space.
 
This sculpture was awarded the third medal at the National Exposition of Fine Arts in 1964. Numbered 27, the piece was also included in the anthology exhibition of the artist’s work held in Madrid in 1972.