The present text analyses the iconography of two cycles of works created by the Spanish artist Víctor Mira (1949-2003) throughout the first part of the 1980s. The tortured condition of the figures not only transmits the existential unrest of the author, but also includes allusions to the two cultural traditions, German and Spanish, where Mira developed his creative work. Due to the dramatic intensity and symbolic density of his artistic language and his resolute use of the pictorial medium to reflect around one?s identity and contemporary history, Víctor Mira?s work, defined within the so-called Neo-Expressionist movement which dominated European painting in those years, is close to the work of German painters, such as Baselitz, Kiefer, Penck or Immendorff
