The work of Lucio Muñoz (Madrid, 1929-1998) holds a unique place in the context of Spanish art during the second half of the twentieth century. The distance he maintained to the Expressionism of the El Paso group, along with his personal reinterpretation of Informel trends, turned him into an artist who truly represented the continuation of the great Parisian painting tradition of the fifties. Heir to artists like Jean Dubuffet, Otto Wols or Jean Fautrier, he began experimenting with wood around 1958, a material that would come to completely define his later work. Never straying from the language of abstraction and using a strict and severe colour palette, Muñoz achieves atmospheres full of mystery, intricate surfaces achieved through tears, burns and cuts that bespeak a deep knowledge of painting as a craft. Finally, two large-scale works deserve special mention, both of which were created for public buildings and brought the artist great renown: the spectacular altarpiece for the Basilica of Aránzazu in Oñate and the impressive mural that dominates the building of the Madrid Assembly.