Jorge Eielson became known at the age of 20 through poems which revolutionised the literature of his country. At the age of 21, he received the national poetry prize for his book Reinos (Kingdom) and became a member of the Peruvian movement “Generation 1950.” After receiving the national prize for his play Maquillage, and after his exhibition in Lima, he was awarded a French scholarship enabling him to travel to Paris, where he settled in 1948. He rubbed shoulders with the artists of the New Realism and exhibited in the galleries of the capital, whilst seeking a new language and new forms of expression. In 1950, he was awarded a UNESCO grant that enabled him to travel to Geneva, an important step in his creativity since it enabled him to do some soul-searching. He visited Spain, then Italy, and moved to Rome in 1951, where he remained until 1965, before finally settling in Milan. In Italy, he became close to the conceptual artists Lucio Fontana, Alberto Burri and Mimmo Rotella, who introduced him to new avenues of research. Borrowing only a few elements from them, Eielson’s work avoided any formal association with minimalism or conceptualism, culminating in his own visual and artistic language. In Europe, Eielson was considered to be a visual artist – he didn’t publish any more poetry until the 1980s –, whereas in his native country he was foremost recognised as a poet rather than a painter, sculptor or performer.