Painter, sculptor and printmaker Spanish, born in Madrid in 1916 and died in his hometown on October 3, 2007. He studied architecture in Madrid and the Royal Institute of British Architects of Oxford. From 1939, he devoted himself exclusively to painting. After making some neocubist works, began to be interested in Paul Klee, whose work marked him deeply and led him to abstraction.
His first abstract drawings, dated from 1947 and 1948, were published in poetry magazines. These first abstract achievements were based on the observation of natural structures, such as snow crystals, microscopic examination of cells or aerial photographs. Such pursuit of geometric structures and their mathematical proportions characterized the work of Palazuelo during his career.
In 1948 he settled in the Spanish Pavilion of the University City of Paris, a scholarship from the French Institute, where he met the Basque sculptor Eduardo Chillida. Together they met Bernard Dorival, curator of the National Museum of modern art that Palazuelo was a course in lithography, which invited them to participate in the Salon de may of that year. By that time, Palazuelo found in the French capital an ancient Chinese book the Madrid painter was looking for for a long time, work that is coded all the secret of his art, based on a peculiar conception of geometry that is not known in the West. Palazuelos refused to reveal the title of the book.
Marguerite and Aimé Maeght, marriage of art promoters, admired his paintings, included him in the exhibition Les mains eblouies, held in your gallery (1950), where he also presented his first solo exhibition (1955), thus beginning his long association with this room.
In 1950, he had started his first pictorial research within the geometric field. Although his first abstract drawings belonged to a pure constructivism, he soon abandoned it to plunge into an abstraction in which key resided in his interest in the laws of nature in the creation of the cosmic and psychic spaces.
He made a work of apparent simplicity, however, hid a great theoretical complexity. Read intensively, especially to Eliade, writings on the imagination of the matter of Bachelard and works on ancient geometries, Tantrism and Oriental cosmogonies and philosophies.
Knowledge that Palazuelo had architectural language was a noticeable fact throughout all its aesthetic evolution which was always evident in his penchant for net shapes and the flat well marked, always chaired by the idea of order and reflection.
In 1954 sensed that sculpture could be a very suitable to their research field of experiences and began to develop a sculptural facet that reached his peak in the Decade of the 1970s.
In 1969, he returned to Spain, he settled a few years in the surroundings of Madrid (in the town of Galapagar) and later in Monroy (Cáceres). There he made the Monroy series that began a new stage in which inquired about the parallelism of the graphic signs and music, through a geometric code. Subsequently, he returned to Galapagar, where he established his definitive study.
He came to make a series of musical boxes and released an album in which the pictorial signs trasponían in sound signs.
Eventually, their geometry was acquiring greater dynamism and flexibility. The pace was faster. Fragmentation on the surface did arise across a grid of straight and broken lines and emerged a structure of crystals.
Both his graphic works and sculptures were in complete harmony with his paintings and were a development of the same, opening some very important possibilities to work.
He was awarded the Kandinsky Prize in 1952, the Carnegie award in 1958 and the Gold Medal of the fine arts in 1982. In June 2004 he received the Premio Velázquez of the Ministry of culture Spanish.