Manolo Calvo Abad was born in 1934 in Oviedo, Asturias, Spain. As a pioneer of geometric abstraction in Spain, he began as a self-taught artist whose artistic trajectory started with a figurative style influenced by fauvism and post-cubism, avant-gardes with which he became familiar during a trip to Paris in his youth. Upon returning to Spain, he became part of the experimental and investigative movement of the 1950s. Like other artists and groups, Manolo Calvo reacted against informalism, preferring a rational and geometric approach. Between 1957 and 1964, he created his geometric series. In 1960, he participated in Valencia in the First Joint Exhibition of Spanish Normative Art, organized by the Parpalló Group, which joined forces with Equipo 57, Equipo Córdoba, and José María de Labra. The focal point of his work is the dynamics of the module, which reorganizes forms. A principle of linguistic economy led him to use only black and white, as well as the circle and square as basic shapes. His work focuses on the concepts of repetition and difference. In 1966, he experimented with electronics, creating his series Artilugios, which required the participation of an audience. After a trip to Brazil, Calvo concluded his geometric phase and began his Brazilian series, which spanned the second half of the 1960s. His work adopted a position of social and political critique, and his painting returned to the human figure. He started carrying out social actions in peripheral neighborhoods of Madrid and also dedicated himself to sculpture, experimenting with various materials. Between 1972 and 1975, he created the series La fertilidad de la alegoría, based on variations of a painting by Jacob Jordaens. He also created sets for plays by Brecht, Adamov, and Arrabal, as well as illustrations and artistic advisory work in film. Manuel Calvo's work distances itself from all commercial sense of painting and is the result of continuous plastic experimentation in various styles and trends, from realism to spatialism, always with undeniable quality, honest intention, clear technical mastery, and indisputable talent. His phase of figurative realism follows a clear purpose of manipulating plastic keys in order to achieve a social denunciation. His work is featured in numerous museums and important collections. He passed away on October 25