Excerpts of Programio (1951) by Antonio Saura
To paint pure forms sadistically standing out against the immense black skies of sacrifice, against the immense grey skies, or brown or green, or red, lascivious and cheerful.
To paint macabre ectoplasmic appearances issuing from the most diverse bodies.
To paint the essential mystery of new visceral forms, of perfect ovoid forms and the exact geometrical forms provided with a caress from the bluebird of forgotten tales.
To paint the spectres of stones.
To paint universal cemeteries.
To paint the cemetery of suicides.
To paint the cemetery of bluebirds.
To paint the cemetery of fossil souls.
To paint erect forms by utilizing sadistic colours, by augmenting the sadism of pure forms and by sullying the purity of morbid forms.
To paint the most prodigious magical transformations of repulsive elements into veritable beauties, or vice versa, the sudden changes performed on monsters by surgeon-manufacturers or the magi of new myths.
To paint the shadow of transparent beings on the dead reflections of liquid stares.
To paint faces, eyes and hands appearing in unlikely places.
To paint black twilights.
To paint the twilight of twilights.
To paint the last twilight.
Published in Saura. Tragedy & Creation Barcelona, 2018. Mayoral. p 34.