[5] Some others were Urbano Lugrís, María Antonia Dans, student of Lolita Díaz (first woman member of Real Academia Galega de Belas Artes)[10] with Elena Gago; and Ángel Johán, Colombo, Cebreiro, Pesqueira, Concheiro, Bonome, etc.

[6][12] Since the Séculos Escuros (Dark Centuries), efforts to maintain the dignity of Galician culture were made in Arts (like Compostelan Baroque), Science and Education (with Martin Sarmiento and Benito J. Feijoo), and in Literature (as recent discoveries show).

Among them there is a regionalist feeling for their landscapes, and some Galicians, like Valle-Inclán, accused the artistic primacy of the Madrid – Valencia axis inside Iberian Peninsule.

Writers and plastic artists gather around El Pueblo Gallego, which begins to publish graphic and written works in Spanish and Galician.

When he got in touch with the avant-garde art of Central Europe, he made some disqualifying comments about Picasso, who after his training in Galicia and Catalonia was developing Cubism in Paris.

[5] Later, he published an essay on Cubism, in which he became interested in its structuring of painting and reality, saying that the avant-garde could be "crazy, but not silly",[22] and corresponds with his countryman of Rianxo, the poet Manuel Antonio, searching to renew art and seeking in its roots.

In Paris, he saw pieces of Gaugin and Van Gogh, which influenced his work beyond the Cubists, Magic realism, and Expressionism, and the writings of Bauhaus professor Kandinsky.

[27]Seoane talked to Freixanes about the concerns of students in Compostela during the first third of the 20th century: The currents of "simplicismus" worried and interested a lot, within the "art nouveau".

The European artistic and intellectual center began to move from Paris to Berlin both in painting and the visual arts as well as in philosophical and political thought (...) Austria was also very present, Paul Klee, Grosz... All of this, although it may seem curious, it was known in the restless Galicia of those years.

Without reaching the rupturism or the iconoclasm and abstraction of the vanguards, he caused controversies, such as with a sculpture for a parish in A Estrada: the Virgin had a host on her chest and the priest didn't want it.

[31] Asorey made monuments to great figures of Galician culture, such as the Enlightenment philosopher Benito J. Feijoo, the writer Curros Enríquez or the astronomer from Lalín, Pontevedra, Ramón Mª Aller.

While they valued tradition, they were very cosmopolitan, and the work of other people was fundamental to that movement, from Nós generation to scientists of the Seminary of Galician Studies, archaeologists, etc.

[38] In the 1920s, members of Irmandades were involved in theater and founded Escola Dramática Galega, with notable playwrights such as Cotarelo Valledor and Vicente Risco.

[52] Marcos Dopico and Natalia Crecente from the University of Vigo analyzed their typographic program, which combined traditional fonts from different origins with the systematization of the Bauhaus and the Ulm school,[53] and according to Díaz Pardo, the Soviet Vkhutemas.

[54][55] Graphic work was developed in a local environment, linked to areas close to the art, artisanal manufacturing, stonework or illustration (...) The foundations set out to collect its characteristic features from history to create a system of self-expression.

The principles of modernity, with one eye on the Bauhaus and the Ulm school and the other on the uniqueness of the geographical and cultural context, avoiding any standardization, have evolved here to "enrich the world with our difference", an ideology applied to all the products they come out of the Laboratory.

Seoane designed the tapestry cards in Argentina and these were made in Sada by Montero, who managed to achieve the chromatic richness of the artist's paintings.