Inauguration of the Museum of Spanish Abstract Art in Cuenca, June 30. From left to right, front row: José María Yturralde, Jordi Teixidor, Salvador Victoria, Eusebio Sempere, Fernando Zóbel and Jaime Burguillos. Back: Gustavo Torner, Lucio Muñoz, López Hernández, Carmen Laffón, Amalia Avia, Juana Mordó, José Guerrero, Nicolás Sahuquillo, Manuel Millares, Gerardo Rueda, Martín Chirino, Alberto Portera and Manuel Rivera. Photo: Fernando Nuño. (1966)
On June 30, 1966, a group of artists, intellectuals, and close friends gathered on a wooden staircase in the Casas Colgadas (Hanging Houses) of Cuenca, Spain, to commemorate the inauguration of the Museo de Arte Abstracto Español, the first museum in Spain devoted to contemporary abstract art. Captured in a now-iconic photograph by Fernando Nuño, this moment marked the realization of Fernando Zóbel’s vision to give modern Spanish art a permanent home—artist-driven, independent, and free from state control during the authoritarian Franco regime.
At the center of the front row stands Zóbel himself, arms crossed and smiling modestly, surrounded by artists who had defined—and would continue to shape—the course of Spanish abstraction. From geometric experimentation to gestural informality, from kinetic art to textured matter painting, the group represents the rich diversity of the Spanish avant-garde in the 1950s and 60s.
The photograph is more than a record of an art event—it is a document of cultural resistance and creative solidarity. Amid the restrictive climate of Franco’s Spain, these individuals gathered to inaugurate a museum built not by state decree, but by artists themselves, fueled by shared ideals of artistic freedom, experimentation, and mutual respect.
The Museo de Arte Abstracto Español in Cuenca—set in the dramatic cliffside Hanging Houses—became a haven for modern art in a country that had long relegated its avant-garde to the margins. The artists in this photo not only filled the walls of the museum, but also shaped Spain’s path toward cultural renewal. In doing so, they helped catalyze a broader shift that would only fully blossom after the democratic transition in the late 1970s.
This moment, preserved in Nuño’s photograph, stands as a rare collective portrait of Spain’s postwar artistic conscience—a blend of brilliance, courage, and quiet defiance.
On the Picture:
Front Row (left to right):
José María Yturralde – A young geometric abstractionist and later pioneer of kinetic and cybernetic art. In 1966, he was just beginning his career and would soon become closely associated with the “Cuenca school.”
Jordi Teixidor – Another emerging painter exploring lyrical abstraction and minimalist tendencies, influenced by Zóbel and Sempere.
Salvador Victoria – A painter of poetic, lyrical abstraction, with roots in postwar Paris and Spanish informalism.
Eusebio Sempere – A key figure in Spanish optic and kinetic art; close friend of Zóbel and advisor to the museum’s collection.
Fernando Zóbel – Artist, collector, and founder of the museum. His vision and generosity brought this project to life, creating a space for Spanish modern art to flourish in the heart of Spain.
Jaime Burguillos – A painter and friend of the group, representing the broader Madrid art scene that supported the museum.
Back Row (unordered):
Gustavo Torner – Co-founder of the museum, native of Cuenca, known for his geometrical and material experimentation.
Lucio Muñoz – Master of abstract matter painting, famous for his use of burned wood and textured surfaces.
Julio López Hernández – A realist sculptor; his inclusion reflects the deep friendships between abstract and figurative artists of the time.
Carmen Laffón – Figurative painter of quiet, luminous still lifes and Andalusian landscapes; friend of the group.
Amalia Avia – Urban realist painter, wife of Lucio Muñoz, and part of the realist-artistic network surrounding the Madrid avant-garde.
Juana Mordó – Visionary gallerist and tireless promoter of contemporary Spanish art; a key ally in bringing abstract art to public attention.
José Guerrero – Abstract expressionist with deep ties to the U.S.; brought international prestige and color-field dynamism to the group.
Nicolás Sahuquillo – Local artist or supporter from Cuenca, representing the museum’s grounding in the regional cultural fabric.
Manuel Millares – A founding member of El Paso and a towering figure in Spanish informalism; his burlap-based works conveyed raw emotion and historical trauma.
Gerardo Rueda – Co-founder and curator of the museum; known for his restrained collages and refined geometric abstraction.
Martín Chirino – Sculptor of abstract iron forms, often referencing Canarian identity and ancient spirals.
Alberto Portera – Neurologist, writer, and cultural patron; emblematic of the intellectual supporters who stood behind Spain’s artistic modernizers.
Manuel Rivera – Painter of luminous wire mesh abstractions and fellow member of El Paso, representing the sculptural impulse within painting.
Casas Colgadas (Hanging Houses) of Cuenca (Spain).
