One of the pioneers of geometric art in Argentina, Manuel Espinosa (Buenos Aires, 1912 – Buenos Aires, Argentina, 2006) received a degree from the Escuela Nacional de Artes and went on to further his studies at the Escuela Superior de Bellas Artes. He was a founding member of the Arte Concreto-Invención Association created in Buenos Aires in 1945.
In the middle of World War II, the group envisioned rupture as an alternative tied to the pursuit of a new visual language that reflected the demands of an emerging technological and industrial society. The group upheld common aims related to non-figurative art and flat painting. The illusions and resemblances of traditional painting were to be banished and art was to exist in its own right, with no external point of reference.
In 1951, Espinosa traveled to Europe. In Paris, he met Vantongerloo and in Amsterdam Vordemberge-Gildewart, both of whom helped guide him in his artistic exploration.
Once the group had disbanded, Espinosa veered away from those common aims, but he continued to pursue non-figuration. Constructed on the basis of geometric elements, his painting was characterized by a rigorous system of organization and impeccable registers. The main attributes of his painting were clarity and restraint. By means of the serial placement of minimal elements, the work produces subtle effects of space and color, and a dynamic tension that creates the impression of depth. He made use of transparencies, juxtapositions, and superimpositions to generate an optical effect of resounding interest. Likely due to his connection with music and literature, Espinosa is one of the painters who most delights in the interplay between reason and sensibility.