Twenty years have passed since the first intent of recovery of the work of Ramón Acín (Huesca, 1898-1936), versatile artist and compromised man of his time, silenced in the walls of the cemetery of Huesca in the torrid one August of the military lifting (Spanish Civil War). Conchita Monrás (from Barcelona), his woman, and only by virtue of being, confronted identical destiny some days later. Since then and to November of 1982, when the Museum of the Upper Aragon organized a memorable sample that also travelled to Barcelona, the omission and the oversight tried to corrode the memory of Acín, a good man and a true one cultural agitator. Only the presence in Huesca of the called Monument to the Pajaritas (origami bird), -a replica of the same one was installed in the Rambla of the Clot- inaugurated in the Miguel Servet Park in 1929 and present in the life of the city since then, has maintained the name of their creator as an ember of affection in the civic conscience.
      The sample that is presented in Zaragoza offers a traveled through by the work of Acín that is copy of the many activities that surrounded his frustrated existence: painting, drawing, sculpture, documentation for projects that never could materialize, calque-graphics plates, caricatures, illustrations for his articles in press ... Also is present the essential geography of the creator: Barcelona, Madrid, Toledo, Granada, Huesca above all, but Paris also. The pieces have been grouped with chronologic character, since the period that the commissioner and teacher Conchita Lomba has called the «poetic regionalist» (1916-1925) to his absolute commitment with the Republic. Among both, the esthetics of vanguard.

      The work of Ramón Acín, without doubt , is correlative of his social and political membership, and the election of good part of the material employees in his invoice -sheet of iron, cardboard I curl or wood- give an idea of a sign decision set against the noble metals that, as the own author says, «herself do not be able tutear» (it cannot be treated equally). They are to indicate on this point two loaded sculptures of symbolism The agarrotado and The crucified.
      Acín, convinced anarchist-syndicalist -his articles in the press carried him in several occasions to the jail-, was friend of Angel Samblancat, Felipe Alaiz, Gil Bel or Joaquín Maurín. He knew in the Madrid of the bohemian to Gómez de la Serna, who there would be to live in the tower of the street Velázquez that before occupied the own Acín. He financed with a prize of the lottery the documentary one hurdano "Land without bread" (1932), of the surrealist Buñuel , with the one that also shared esthetic eagernesses. Professor of the Normal School of Huesca, he emphasized in his pedagogical work of renewal as introductor of the techniques of Freinet. Félix Carrasquer also cultivated the fraternal relation with Acín.       A Friend of Lorca, Romá Bonet i Sintes Bon, or Rafael Sánchez Ventura, also he was of the captain Fermín Gallant, with who he was implied in the uprising of Jaca in 1930. The failed attempt, amused profusely by Acín in diverse backups, he carried to the thick wall (firing squad) to Gallant and captain Garcia Hernández also. Our artist there was to be exiled in Paris. Proclaimed the Republic April 14, 1931, he returned taking up again a work of maturity and enormous perspectives. August 6, 1936 all he remained interrupted. Perhaps his return be definitive.

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