The historiography of the last thirty years has been confined to Palazuelo in a abstraction of an idealistic type, very linked to currents of spirituality, and to a conception almost aurática of the artist and his work. While it is true that is nourished by the streams of thought related to the esoteric, with the cabal, with philosophies and cognitive processes that are not linked to the western thought, it is also mathematics, physics and scientific thinking are fundamental to their work.

The development of the abstraction and use of geometry in his work are inextricably linked to a rational process and performative, based on the discovery -not in the invention - in new ways.

In the work of Pablo Palazuelo can distinguish two great moments, marked by his stay in Paris (for more than two decades) and his return to Spain. The fact that it is installed in the French capital at the end of the forties, and that very soon it is tied to the galerie Maeght in that city, he was instrumental in the projection of his work.

Within A few years, you start to paint, the work of Palazuelo was already present internationally in exhibitions not only of Spanish art of the time, but also in themed exhibits that focused on the abstraction from different perspectives; also, very soon, his work was incorporated into collections of private individuals and museums in europe and america.
In Spain, however, it was not until their return, because at the end of the sixties, when he began to know his work well; then began a process of blurring on the international scene, where you do not put the way that it deserves in the context of the art of the
second half of the TWENTIETH century. But beyond the mere “anecdote” of the recognition they have received, it is also important to highlight the influence of these changes on the bill of the parts. The stroke restless, the constant manipulation of the drawing, the paintings, as seen in the first stage,
became more distant at the same time that more refined in more recent years, in the process, the gesture, distance themselves more from the final result of the work.

Painter, sculptor and printmaker, Pablo Palazuelo (Madrid, 1916) is one of the artists with a track record more significant within the Spanish Abstraction. Palazuelo studied architecture in Madrid and at the Royal Institute of British Arquitects of Oxford and, from 1939, is devoted exclusively to the painting. Awarded a scholarship by the French Government, he moved to Paris in 1948, and there
match with other Spanish artists.
The National Museum Reina Sofia Art Center dedicated a retrospective exhibition in 1995, titled Pablo Palazuelo. Then came another which commemorated the Award Velázquez of the
Arts awarded the artist in 2004, whose awards were added: the Prize Kandinsky in 1952, the Award Carnegie in 1958, the Gold Medal of Fine Arts in 1982 and the National Prize of Plastic Arts in 1999.