The painter Eusebio Sempere has been defined as a constant researcher, a man open to every curiosity, a dissatisfied perfectionist and a total artist. Born in Onil (Alicante) on the 3rd April 1924, his early education took place in Valencia, though he later entered the Higher College of Fine Art of San Carlos.

In 1948, with a grant from the French government, he moved to Paris, where he would live for ten years. There he met Pañazuelo, Chillida, Braque, "Gregorio Braque, my admired painter, lived very close to the university quarter, next to the park of Montsouris [...]," Hervin, Vasarely and those who would later become the most important contemporary visual artists.

In 1950 he took part in the "Salon des Réalites Nouvelles", in the Paris Museum of Modern Art. In the catalogue, among others, are to be found the names Pevsner, Albers, G. Dorfles, S. Delauny, Burri and Kupka.

It is in this decade, the fifties, that he began a series of gouaches which are the starting point for his subsequent activity. He covered black paper with circles, concentrically distributed using compasses, either blank or filling in these circles with pure colours in gradations of colour. Using parallel lines, he makes simple forms, triangles and squares, "dance". A result of his gouaches are his famous "Relieves luminosos móviles" (Mobile luminous reliefs), which he showed in 1955 in the "Salon des Réalites Nouvelles". For this, he published a manifesto on the use of light in visual arts.

While he was working on his gouaches on black paper, he decided to experiment on different, superimposed planes of wood, fitting in among them electric light bulbs. The result was the construction, in 1954, of luminous closed boxes, through the holes of which, with geometric forms and coloured with different-coloured plexiglass, the light passed, being switched on and off by a small motor.

The Parisian work of Eusebio Sempere is not well-known, although the artist was intimately associated with the circles which formed the geometric abstract movement in the fifties and with the initiatives through which this reached the public (principally, the exhibitions of the "Salon des Réalites Nouvelles" and of the Denise René Gallery, and the publications of the critics gathered around the magazine "Aujord´hui, arte et arquitecture").

Back in Spain in 1960, his work was too avant-garde for the taste of the period. On the other hand, there is in his work no clear break between the painting based on empirical references and the painting of formal research, but rather a single way of painting which swings, like the chromatic value of the forms, one way or the other.

From 1959, he formed part of the Parpalló Group, a cultural movement, not limited to visual arts, formed, apart from Sampere, by Aguilera Cerni, Castellano, Genovés, Navarro, Soria and Berenguer, among others.

The group undertakes the publication of a magazine, first called "Arte vivo" and later "Parpalló", and began exhibitions of a collective nature, like the First Joint Exhibition of Spanish Normative Art, or their participation in the VI Biennial of Sao Paulo, in Brazil.

Individually, Sempere showed in London, New York, Paris, Washington, Nuremberg, Grenoble, Spoletto, Lausanne, Tokyo, Berlin, Heidelberg, Madrid, Barcelona and a good few Spanish cities, being present in the most important artistic demonstrations of the contemporary art of the last 30 years.

His work was so extensive that it has left its mark in more than 40 European and American museums. In 1982, he was named a Favoured Son of Alicante, receiving a tribute in the Casa de la Asegurada, where his collection of 20th century art, donated by the artist, is displayed, forming an excellent municipal painting collection.

Eusebio Sempere died in Onil on the 11th April 1985.