A practitioner of a contemporary version of the traditional Luminist school from Valencia, Hernández Mompó’s first steps as an artist were defined by his creation of urban scenes and figurative landscapes essentialised and diluted on series on paper. The outcome is a personal, immediate and, to some extent, naive world.
 
After studying at the School of Fine Arts of Valencia, the artist travelled to Rome, Amsterdam and Paris, where he entered into contact with the abstract avant-garde movements of the post-war period. Upon his return to Spain in 1957 he settled in Madrid, where he worked on the periphery of the non-objective movements, on the boundaries of figuration, creating an abstraction in which it is possible to glimpse images. Following sojourns in Ibiza and Mallorca in the 1960s, he introduced greater spontaneity and luminosity into his works, leading to the whitening of the dirtier and greyer backgrounds of his previous period.
 
Until the end of his life he maintained his vocabulary of signs and profiles of sketchily outlined figures which seem to float magically in space. He created subtle atmospheres and dream-like effects reminiscent of much of the lyrical non-objectivity characterising the work of Wassily Kandinsky (1866-1944) or Paul Klee (1879-1940).
 
In this canvas one can discern Mompó’s affinity with the work of Joan Miró (1893-1983) and children’s graphics, but here there is no sign of the colour black, nor of the brushstroke or outline, and the silhouette of his figures are always left open and somewhat blurred. They are like symbols without a given volume and the flat colours combined with stripes and dots strive to define the space.