”Algunos creen en la ilusión que pintan y otros simplemente la crean y esto traspasa la diferencia entre lo figurativo y lo abstracto. Al mismo tiempo hay una pulsión por la excepción o una búsqueda de la esencia y de lo general. Esto engloba a manifestaciones tan dispares como el dibujo esquemático y el canon griego.”

The following quotation of Abel Graces Saeger could be translated as: ”Some believe the illusion they paint, others create what they paint and this is something that penetrates through the figurative and abstract concepts. At the same time there is an impulse for the search of the exceptions and an inquire in the general and in the esential. This embraces manifestations so uneven as the schematic drawing and the greek canon.

The evolutionist view between the relationships and possible ontological progressions between abstract and naturalism or from figurative to abstract are at least a maniqueistic and anatomical analysis of manual process of painting. As the 19th century fisiognomica this approach is trying to attach some significance to formal differences in the representation techniques patching knowledge acquired in biology with no more evidence than a superficial formal analogy.

It tries sometimes to Identify dubiously geometric forms with logical abstraction and realistic shapes with automatic almost photographic representation where no sort of logical abstraction intervenes. Obviously not having anything against evolutionary theories is clear that they represent the scalpel ultrasimplification of the complex individual and social process that constitutes paint-making and paint seeing.