Formed in San Fernando Art School in Madrid (1953-1958), Crespo Rivera manifests in a conceptual way during the 60´s in figurative expression "throughout these years, he makes a defendant effort seeking for plastic shapes able to suggest a social contextuality in art, although he must constrain to the field of experiences. His research takes place in the problems of shape, texture, from the informal to the abstract" (José Luis Gago).

Wood is one of the main materials used by Crespo Rivera since the begginings, although he also uses bronze and stone for some of his expresionist creations.


At the beggining of the 70´s he evolves toward a fully abstract work, of stature on wood with essentially geometric forms where the sculptoric relief participates within a deliberately pictorical concept, with monochrome lacquer colours that the critic Carlos Areán defined as scultopainting. He talks about Crespo Rivera´s work in "Cuadernos Hipanoamericanos" (hispanic-american books) in 1973 saying "as in most of the constructo-specialists conceptions, and thanks to the shade spaces that the concavities of the painting produce, light is an important element for the aesthetic development of this artistic form, inasmuch as changes in the direction of the luminous source determine variations of its arrangements of elements and its form that has more of stage scene than of real physical conception. It is therefore, apart of its space concept, of the evolution of the forms that proposes, of the resource to the collaboration of the light that summons a human and sincere painting destined to be immediate presence for the life and contemplation of the man, proposal of murals and walls for a future that is already in our calendars".

The critic Joaquín Castro de Bereza in the "Teleradio" magazine makes a comparison of this work with the one of Gerardo Rueda "what in Rueda is just linear constructivism, in Crespo Rivera is enriched by the circular structures that accompany the straight lines. What in Rueda is design attainable by a good experienced carpenter, in Crespo Rivera is labour that obligatorily requires the hand of its author. It is not my pretension to establish a comparison between both artists, but the appointment is inevitable and makes clearly evident the category of Crespo Rivera, who can bear being compared with such a famous master of modern art without loosing his neighborly and criteria".

From this period of pictorical concept it shall be enphasized Ovoid Composition in White (1971), Zamora Provincial Delegation Prize at the I Biennial Painting Exhibition "City of Zamora", and White Spaces (1975), Prize of the Jury at the Múltiples Contest, Serie Art Gallery.


As a consequence of the exhibition made in the Galería Skira in Madrid in 1973, he was asked to made the constructivist mural for the "experimental facility" in Colón Towers in Madrid, in colaboration with the architecht Antonio Lamela, who later entrusted him to develope a big mural in the hall of his studio in O´Donell Street in Madrid.

In both works, the author takes a step ahead by making some murals of an schematic constructivism expressed on the straight line, but without loosing the relief of his paintings from the previous stage, neither the sense of the space rythm, nor the monochrome white colour that always preside over both conceptions.


From 1977 he gets back to three-dimensional abstract sculpture with a main concept of curves with bronze convexities and concavities, a purified morbid texture, sometimes with a natural polishing in contrast with expresive warm and black patinas "without any kaos, with a remarkable order, bronze speaks and cradles, and takes the viewer towards the foreshortening, the spiral, the oval, the genital" This is the way Claudio Rodríguez speaks about this sculpture in the poem he dedicated to Crespo Rivera under the name "Materia y Alma" (Matter and Soul).


From 1984, Crespo Rivera teaches Modelling and Design at the Art and Crafts School in his home town of Zamora. At that time he stablished a furnitures designer shop, one of the firsts in Castile (Spain), being its managing director and centering his effort on it, drawed him apart from active sculpture.

At the present time, he has returned to the artistic creation entirely, and he is preparing a retrospective exhibition of all his work.