One of the young artists which recently reasserted his value as such in the last years is doubtless Domingo Millán. Born at Alcoy, Alicante (community of Valencia) on 1947 went to Barcelona, city to be regarded actually as his country of adoption. Painter, engraver, writer and poet of a very recognised value, Domingo Millán confirms himself when his works integrated to the reputed exhibition of March 1982 shared the "billboard" with no less the Pablo Picasso, Joan Miró, Antoni Clavé and J.J. Tharrats (all closely linked with Cataluña) at no less reputed Sala Gaspar.

That was Millán became to be regarded as a "reliable" painter since his restless and roving soul and bohemian life till then make him a controversial and contested artist. Admirer of great geniuses like Goya (his black age), Picasso and van Gogh, he is also admiring –and know very well- the great Americans like Pollock, Lichtenstein, Oldenburg, Wharol, Stella, etc.

Millán –as everybody knows- works up to 14 hours daily in his exquisite dwelling-shop at one of the Balcelona’s most coveted areas, a flat with arabic ornaments, a reminiscence of the Granada’s Alhambra, which was the mansion of a wealthy German’s wife. The fact of painting –and engraving, since he is an excellent engraver- with an unusual frequency makes the painter to be permanently in develupment and his work is "not updated" –this only in the visual sense of the world- prevailing remaining himself within the total contents of his artistic work, as had remained alive despite the changes of style and age all the works of two great Spanish, Picasso and Miró.

As the above painters, Domingo Millán’s work must be analysed comprehensibly because it opens up for one thing, the work of gestating stage and for another thing a primitivism swaying between naïf and the own heart of Africa. The painter’s work not only runs along his own country, Spain, but also in Germany, Italy, Guatemala, Japon, Sweden, etc. and finally America culminating a collective upsurge unleashed in to-day Europe. Our country’s access is started through New York to reach later San Francisco in our collective and lastly individual by the hand of the San Francisco Museum of Contemporary Hispanic Art whereon one of his works already existed and also at other museums: from Equatorial Guinea up to Granada, Barcelona and Figueras in his native Spain.

Millán’s is an excellent draughtman and within the graphic arts has a great command of the linoleum techniques, etching, serigraphy, lithography and xylography among others. A connoisseur of the diverse art markets –ha was appointed director of a reputed Barcelona’s gallery, which introduced many young artists- knows the American market is awfully exacting and expects his paintings not easily understood when a cultural base is not wide enough, will be accepted by the Bay’s public, since San Francisco is specially regarded by him as one of the major cultural capital cities.

Writer –such a writer that from 1972 to 1976 changed painting for the pen- Millán has an excellent cultural base allowing him to be a deeper researcher at the same time than a reputed artist.