The work that we will put out to tender in Setdart “485” on April 27 stands as one of the best examples of Luis Feíto’s artistic evolution during the sixties. After the dissolution of “El paso”, the work of the Madrid artist will undergo a constant and studied technical and formal compositional transformation, the result of his audacious and tireless desire for research. However, the background of his experience within the artistic collective that broke with the absolute atony of a creative world subjugated to the dictates of Franco, forever marked the revolutionary spirit with which Feíto would transform the canvas into his particular battlefield.

The work that we will put out to tender in Setdart “485” on April 27 stands as one of the best examples of Luis Feíto’s artistic evolution during the sixties. After the dissolution of “El paso”, the work of the Madrid artist will undergo a constant and studied technical and formal compositional transformation, the result of his audacious and tireless desire for research. However, the background of his experience within the artistic collective that broke with the absolute atony of a creative world subjugated to the dictates of Franco, forever marked the revolutionary spirit with which Feíto would transform the canvas into his particular battlefield.

In this canvas made during his stay in the city of Paris, Feito dispenses with a specific title that describes or specifies it, replacing it with a numerical system that he usually resorted to throughout his entire career, thus suggesting an intention of serialization and continuity. Integrated within a period of transition, the work preludes the beginning of a new stage, in which the artist begins to reduce all the elements of the composition to the essential, getting rid of any component that may be superfluous. As a reflection of this crucial moment in his career, Feito establishes on the canvas a dialogue between the material organicity of the previous stage and the progressive approach towards the essence of form and color, displaying in a confrontational space, the unsolvable tensions between order and chaos. Through the horizontal bipartition in the golden sky and the volcanic earth, open at the same time with a red wound that bubbles with filling and color, Feito still reminds us of that gestural expressiveness and materiality of previous times, when his paintings were defined as “wide rivers of asphalt and blood ”.