The work of Eusebio Sempere has always played a relevant, singular role on the stage of Spanish avant-garde painting. Though integrated in the avant-garde movement of the 1950s, in which the hegemony of abstraction was practically uncontested, Sempere always followed a different course based on personal experimentation in the realm of form. His time in Paris in 1948 and his discovery of the work of artists like Arp, Mondrian, Vasarely, Chillida and Palazuelo led him to turn away from his early figuration and set out on the path of abstraction, but one in which the values of form, geometry and construction were essential. In this respect, it is important to highlight his participation in the Salon des Réalités Nouvelles in Paris in 1955, an event marked by this tendency.

Sempere opted for a geometric abstraction that would become the guiding thread of his entire career. Instead of embracing Abstract Expressionism, the facet of Art Informel that dominated the entire avant-garde scene at the time, Sempere turned towards constructive abstraction, making the value and defined presence of geometric order the foundation of his painting.

This choice ushered Sempere into a minority group within the art world and charted a coherent yet solitary road for him to travel. He rejected the value of expression as the projection of a state of mind in favour of a poetics of order and construction, refusing to transfer the emotions and feelings elicited by an ode to subjectivity onto the canvas. In Sempere's painting, it is the work itself that plunges the spectator into a world of sensations. His art always offered a balanced interplay of forms and colours that suggest an ideal, utopian image of a rational universe.

Penetración del cuadrado en el círculo [Penetration of the Square in the Circle] is a synthesis of the artist's lifelong dedication to geometric experimentation with forms, aimed at creating a world of ideal images. This preoccupation is also manifested in works like Forma lobular [Trefoil Form], with its predominant yellow plane modulated by lines that trace a pattern resembling a fingerprint subordinated to a geometric design.

Sempere's painting speaks to us of the poetic universe of a transcendent, metaphysical order. The artist proves that form, order and geometry are components of an intimate emotion that synthesises a pantheistic feeling which, despite the apparent flatness of the image, has a three-dimensional effect. In this effect, colour plays a decisive role. Azul trazo grueso [Blue Thick Stroke] is an experiment in line, plane, form and colour with the suggestion of a third dimension where time seems to stand still and the various intensities of blue weave a pattern that hints at a magical reality. [Víctor Nieto Alcaide]