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Throughout the pages of The Moustache of La Gioconda , Arroyo spells out a reflection on the copy, the reinterpretation, the intervention, the appropriation and the other adjacent artistic strategies, which he agglutinates with the appellative 'pastiche' and, as he points out, which counted when he started his career with a new context that couldn't be rejected.

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The Spanish painter Eduardo Arroyo (1937) is today regarded as one of the most important exponents of politically committed realism. At the age of twenty-one, he emigrated to Paris where he worked as an author and journalist. Not very convinced of his own writing skills and his political judgement, Arroyo decided to devote his time to painting. In 1983 Eduardo Arroyo received the Great National Prize for Painting in Spain. In 1969 Arroyo started working occassionaly as a stage designer for important European productions. He designed the stage for 'Off Limits' by A. Adamov for the 'Piccolo Teatro' in Milan and created the stage design for the opera 'Wozzeck' by A. Berg for the Bremen Opera House. In Frankfurt am Main he developed the stage for B. Brecht's 'Im Dickicht der Stadte'. In 1986 Arroyo's piece 'Bantam' had its world premiere at the Munich Residenztheater.

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