Living in exile in France after the Spanish Civil War, Antoni Clavé (Barcelona, 1913 - Saint Tropez, 2005) alternated painting and sculptural work with noteworthy incursions into the world of illustration as well as set design for ballet, theatre and especially cinema. The latter brought him international renown when he was nominated for an Oscar for his work on the film Hans Christian Andersen (1952) by Charles Vidor. During the mid-fifties, he began to explore abstraction, but he did so without ever completely abandoning figurative references. Clavé’s work is characterised by the use of a variety of different techniques, including papier froissé—crumpled paper coated in spray paint—collage or tearing the surface of the canvas. In addition, he brought a profound knowledge of colour and its expressive possibilities to his work. The artist’s iconographic motifs of the fifties and sixties recall the paintings of Dubuffet and Klee, although they also contain references to masks from Africa and Oceania, as can be seen in Roi (1958). Finally, towards the late seventies, some of his paintings would not only reflect the plastic qualities mentioned earlier, but also a deliberate, political commitment to the historical situation of Catalonia, as expressed in Volem l’Estatut (1977).