These days, when the “survival” of painting seems to be the hot topic, José Manuel Broto’s perseverance in pictorial practice proves to be exemplary, on account of the brilliance with which he combines continuity and change. His trajectory began around the French movement of the ’70s, support-surface, which Broto was instrumental in importing to Spain—as much through texts and theoretical publications as through actual “teaching.” The legacy of that movement has been very poorly evaluated. It presented the possibility of a sensitive reorganization of thinking about the pictorial field. The