Cándido Fernández Mazas - "harmonious multi-skilled individual" - in the words of Carlos Gurméndez, belongs to the young generation, born in the twentieth century, they die prematurely. For different geographical and personal avatars have remained in the shadows of history. Your life will pass couple to the evolution and the determining events of his century.

Born in Orense in 1902, it is in this small provincial capital (which nevertheless has a presence important press given the relative number of inhabitants / newspaper), which will develop without further stimulus than in co-generation, Eugenio Montes, Madriñán Neira, Manolo Cid, Jacinto Santiago, Manolo Méndez, Paco Gallego, Alvaro Augusto de las Casas, Juan Astorga Anta, etc.

You will be interested this group of young people -participarán culture in the academic activities of the Monuments Commission chaired by Don Marcelo Macias but also for the most daring literary experiments or the most rupturistas aesthetic, participating in projects geographically as far as Metaboliques Emile Malespine o Literary News, in France, Synthesis in Argentina, Alfar, Greece, Propellers, ReflectorEtc. in Spain, chasing form a universalist and cosmopolitan community.

He made his first journalistic collaborations in the local newspaper agrarista The ZarpaOf Basilio Álvarez in 1922 with articles created close to surrealism.

Sent from Madrid daily The Pueblo Gallego de Vigo algunas crónicas gráficas, en las que retrata a diversos oradores que pasan por la Residencia de Estudiantes, como Cansinos Assens, o Antonio Sardinha. Es en esta época cuando Ramón Gómez de la Serna recibe algún dibujo suyo a través de Eugenio Montes “que el autor de “Muestrario” conserva en su caja de sorpresas de Velázquez 4, entre bandadas de codornices y coronas mortuorias, dibujos de Solana, relojes de música”, o cuando Guillermo de Torre le envía a Orense una postal de felicitación por sus “bellos grabados”.

Although they had only come to us in his work as linoneísta The Zarpa during the twenties, or drawings he made in Paris in 1925, we would be, to say it with words Arbos Ballesté, "before one of the great Spanish artists of the first half of the century".

His literary activity will pass parallel to his artistic activity. In the late twenties and early thirties written several plays of which only gets to publish a: Santa Margorí (Madrid, Alcor Galaico, 1930). His poetry -very escasa- compose six poems written in Galician language. Your plastic or political thought will appear in different media and art criticism will appear in the journal P.A.N. (Passersby. Andante and Navigators), Which will collaborate with Eugenio F. Granell, Sendón Fernández, Fernández Mosque or Ramón Gaya and will be edited by Dieste brothers in Madrid, in the early years of the thirties.

Participates in the project of the Ministry of Public Instruction Pedagogical missionsWith readings are staged and making decorations and dolls for puppet.

That time is also a painting exhibition at the Lyceum Club of small format paintings, "intimate poetic painting obvious root" as define Santiago Arbós.

Collaborated in various newspapers Galicians and Madrileños bulleted committed to political content, where the absolute -protagonista online more radical, idealistic and heterodox left - evidence his expertise.

During the civil war will collaborate in P.O.U.M. publications such as newspaper run by his friend Eugenio F. Granell, Red Fighter. Also in anarchist publications like the magazine Threshold.

Imprisoned in Valencia and released months later through the mediation of military judges Sebastián Martínez Risco and Díez Faes, but mostly thanks to the tenacity and economic efforts of his family, returns to his village in Pedrouzos, Casas do Penedo, O Castro de Caldelas in Orense, where he died in December 1942.

Being his very little work, though very sugeridora and of great importance as it can be seen as time passes, has been forgotten or neglected for various reasons.

It is intended from this page, claiming historical, plastic and intellectual legitimacy to a company registered in a generation that could not be fulfilled thanks to the drama of the civil war and which Mazas exponent is paradigmatic figure.