Eduardo Arroyo is one of the most important artistic figures of the Spanish transition period from dictatorship to democracy to which he brings large doses of irony and good humor. After getting his degree in journalism, travelled to Paris in 1957 to develop his career as a writer, and it was there where he very soon discovered his irrepressible attraction to plastic arts.

It was precisely that initial vocation for the written word that influenced decisively in his verbal conception of figuration. While he worked as a reader at the Superior School of Business, he began to paint with a style that still characterizes him: agile, dynamic, fresh and ironic. He uses daily life to demystify situations, prejudices and social conventions. The codes of Pop Art, so close to the world of publicity and the press, seem to be created especially for him. With flat colors that are perfectly outlined by his drawing he shapes his personal imagery that has made his series such as Mussolini, Franco and Hitler or outstanding figures of the Catholic Church so famous.

From a formal point of view this is how Eduardo Arroyo builds the commitment he still feels for the problems of the agitated world where it is his luck to live. Arroyo goes beyond just denouncing or criticising. He immerses the spectators in his works to make them co-participants in the story he is telling. He seeks collective catharsis like in classic Greek tragedies and in order for the observer to feel free from prejudice, he criticises through argument.

A versatile man, Arroyo also displays his genius in fields as varied as drama, set design, ceramics and writing. In this sense, nothing escapes the perceptive eye of this modern “storyteller.”