Manuel Hernández Mompó (Valencia, 1927 - Madrid, 1992) moved to Paris in the mid-fifties along with many other artists who flocked to the French capital to experience first hand the new artistic currents emerging at the time. At first he was influenced by the language of Art Informel, but he soon moved on to a very personal painting style that bore no direct relation to the other, dominant trends of the period. Mompó explored the boundaries between figuration and abstraction, between the expressive delicacy of paper and the forcefulness of fabric. The luminous colour scheme that characterises the school of the Spanish east coast was one of the main, constant elements in his work. On the other hand, his choice of grey, a colour rarely used by painters, evolved into a distinguishing trait of sorts for his entire body of work. Mompó had a finely tuned sense of poetry, in which references to Klee seem to meld with a personal reinterpretation of Abstract Expressionism of Baziotes or De Kooning, for example. His paintings possess a suggestive sensuality and, at the same time, they display a strong command of the fundamental principles of painting.