icono titulo portada Abandonement of figuration 1953

Then I decided that the path which seemed open for me was that of abstraction.

Form, Movement, Communication. Eusebio Sempere.
Contemporary art and society. Salamanca. I.S.F.V. Edited by San Esteban, 1982.

Towards 1953 I remember crying, really, when I had to say good bye to Figuration. As if I were going to go into a monastery. As if it were the farewell to one world, to forever go into another one. (Naturally the change comes after a long time of analysis). Very hard times began.

Sempere. Edurne Gallery. 1974.

Sempere was entering unknown lands, he had to start from nothing, in a path where he didn’t have a base, just the instinct that that was the direction he wanted to go.

The terrible crash happened when I found one of the first pieces by Mondrian. None but his four friends knew it. And there came the drama…
…At the time I thought that Mondrian’s way could be a more serious one. Mondrian’s expositions were overwhelming. He was a man of large rectitude, a real mystic, and he dedicated his life to be like that, until death (…). His works were extraordinary for me. At my own risk I managed to assimilate it. But I still had the same problem. Mondrian had reached the summit and could not be followed. It was very hard for young painters to follow Mondrian’s path. On the other hand I didn’t have the strength to go through Figurative art. Thus I started by breaking down Mondrian’s schemes. After a few years I tried to introduce light, real light.

Form, Movement, Communication. Eusebio Sempere. Contemporary art and society.
Edited by San Esteban, Salamanca.