The activities of Amalio have a common denominator: Andalusia. It is a pictorial and passionate interpretation of this land; it is the period of testimonial painting and poetic realism that are captured in this series of paintings.

The famous Esperanza Suárez Montoya, her daughters, her granddaughters. All of them were painted time after time by Amalio, especially Esperanza herself. All this work constitutes what he called “The World of Esperanza”. This collection is as deeply realistic that makes one’s heart tremble while watching the race portrayed in black, totally in black, with a beautiful face marked by the years and a sweet look lost in the memories of a life, of a crying without tears, with the sorrow contained in a lump in one’s throat.

How can we reach and go deeper into the spirit of the gypsy world? How can we understand it?

In order to capture this unique idiosyncrasy and bring to light that inner world, something more than the master hand that paints the light and the colors is needed; we need a brilliant and humane painter able to hold in his heart, full of humanity, all this reality of passion, pain, and journey which composed the gypsy life.

Amalio erases from the gypsy world all the superfluous things, all the adornment, and leaves the dignity and sobriety that characterizes it.

He painted Esperanza, his gypsy model, with the same respect and dignity with which he painted illustrious men.

The historian Álvaro Huerga was the first one to use the bold comparison between Amalio and García Lorca in their respective pictorial-poetic treatments of the gypsy theme; thus, in the magazine Estampas de la Habana (Cuba), under the heading “the odd collectors”, he wrote:

That is why the privileged ones that have been able to get close to the

mystery are only a few, and perhaps even with limitations. Among those

privileged I would highlight García Lorca and Amalio García del Moral.

García Lorca made sparks fly from the anvil in a resounding and emphatic

verse of the gypsy intimacy. García del Moral has captured in the inspiration

of his paint brushes the anguish and the smile, the partly beating mystery.

And he has captured it with the same voice as García Lorca but with a

personal point of view.

The men from the South evoked in the poem that Amalio recited before the doors of the Sevillian palace of Dueñas, on July 7, 1975, to celebrate the centenary of the birth of Antonio Machado, serve as a base to approach that other human creed that Amalio reflected in his tough Proletarian Apostolate. Esperanza herself would be the one to head it under the motto:

Andalusian, grief as profession.

She is accompanied by a street vendor and a metallurgist, a lottery vendor and a peasant, a poet and a worker … a resigned silence of centuries.