Salvador Victoria is a key figure in the renewal of the visual arts in Spain in the twentieth century. His painting evolved from an informalist language in the fifties—coinciding with his time in Paris and his discovery of and —towards in pure colours and forms, with the circle as the main motif in his compositions. These features would visually and conceptually mark his work in the seventies. After a period of tireless experimentation, in the eighties he recovered the free-flowing, vibrant brushwork of his early practice. Without ever abandoning the circle, his compositions from this period are sustained on a more leisurely rhythm than the works from his period in Paris and would be a point of inflection in his long process of research into the form, colour and matter, the elements which Victoria used to transcend the boundaries of the purely visual.

From 1967 onwards Victoria combines his painting practice with an equally interesting production of prints. Throughout his lifetime he collaborated with various workshops and printmakers who helped him to materialize his manifold experiments in this field. In the decade of the seventies the artist was especially prolific in printmaking, and one can readily observe an evolution akin to his painting. During the early-seventies he created a series of silkscreen prints with layers of inks which are particularly striking for their intense, bright colouring. With the passing of time, the colours became softer and more neutral, and the compositions began to evoke a kind of metaphysical landscape. This is clearly exemplified in this silkscreen, published in 1973 by Galería Sen in Madrid and printed by the Armando Durante workshop, in which the geometric forms would seem to suggest an abstract sunrise. The circle is, once again, the centre of the composition. Here one can notice the layering of different inks, a method the artist employed very frequently in his graphic work in the seventies, using it to build up layers and volumes that would give the work greater depth.