ceramics. 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. Sculpture Francisco Asorey, born in 1889 like his friend Camilo Díaz, followed figurative postulates, but with new themes and expressionist texture. 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. That iconography was also used by Díaz in his posters for the Statute of Autonomy of Galicia, with the coat of arms of the Kingdom of Galicia (today official of the Autonomous Community). The war took him many friends, like Díaz, but he continued in internal exile. This led to some forgetfulness later, according to his granddaughter. 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. In 2019, Asorey's sculpture "A Santa" returned to Galicia for an exhibition, after 70 years in Montevideo. The sculpture, created in 1926, received criticism from notable figures such as Valle-Inclán and the Queen of Spain for breaking political correctness at the time. However, Asorey later stated in a press interview in 1956 that this was the work he was most satisfied with. Between tradition and renewal The movement in Galicia was less disruptive than other vanguards. 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. Enrique Campo with only four years of work but very intense, practiced with new fields of drawing, archeology and scientific illustration. The surrealists Some of the Renovators were influenced by surrealism, like vivarian painter Maruxa Mallo, who had strong ties with surrealists such as Bretón, Lorca and Buñuel. She was far from his homeland, but the