It is difficult to summarize in a few lines the importance of the works that Luis Feito (Madrid, 1929) made in those years and the time historical-artistic they were. Feito going to Paris in 1956, attracted by the freedom and the excitement of the international avant-garde. In those years the mainstream art was the art informel –european version of abstract expressionism - derived conceptually from the surrealist movement and was heavily influenced by the philosophy and literature existentialist of the time. Both trends radicalized even more of their approaches in relation to the exploration and representation of a vision of a more intimate, personal and subjective to the artist, so deepening in the creation of an abstract language that is de-linked from the visible world, and that was to create emotions and feelings through color, gesture and matter. If this artistic revolution we add some of the features of traditional Spanish culture -in particular the artists of the court's most dramatic and expressionistic - and who were also seen as an interpretation of the political situation in spain at the time, the result was a language plastic innovative and powerful, personal and full of character, which fascinated and attracted the gazes of the main classes in art at the time.   

After would be the biennial Latin-american, the Sao Paolo, Alexandria and Venice, the exhibition in the MoMA, the Guggenheim and the main european capitals that desbordarían the most optimistic forecasts in relation to the international interest in Spanish art of those years.

Feito and his colleagues in the group of El Paso, created by carlos Saura in 1957, were the stars of the brightest moment and admired the Spanish art of the last few years, a golden era which we have not gotten to enjoy, and that we should now perceive as an achievement of the Spanish culture which we must feel very proud.