and Rémbrandt, the youngest of the three brothers, made his first attempts at Bohemian art, a genre which he devoted himself to until the day he died. 
The three brothers were avid readers, committed draftsmen, decorators and music lovers. In addition to writing poems, Raúl wrote a play called "La sombra de la nada", which was premiered in Alberti, a "sacramental act", a dictionary of Greek Mythology (which he never concluded) and published an essay about "Faust" by Goethe in the newspaper La Zona. 
In 1933 Raúl became a member of the Communist Party. He endured persecutions and was imprisoned. 
While in prison he drew the blueprint of the torture chambers of the Special Section (the Secret Police) and the information about the existence of such chambers, once revealed, caused international upheaval. Henri Barbusse, writer and French pacifist, learnt about Raúl Lozza and sent 

him a warm greeting from the European antifascists.  He took part in the publication of "Socorro Rojo", an antifascist newspaper that supported political prisoners. In that newspaper Lozza used the term "picana" for the first time to refer to the instrument of torture used by repressive forces. This would later become the subject of one of his works. 
During these years, Raúl Lozza began to get involved in Abstract Art through drawings in which the figure is represented by geometrical planes and lines. 
As of 1936 he engaged in avant-garde art currents and began his activities as an advertising designer. At that time he met Matilde Schmidberg (view image), a pianist who became his first wife. They married in 1938 and a year later their first son, Arturo Marcos Lozza, was born. Raúl was evicted from his house in San Martín Avenue, in La Paternal. Then, he worked alternatively as a painter, lingerie cutter, traveling salesman and commercial artist. 
In 1939 he created his first frontal spatial objects with irregular periphery, exhibited on several occasions, which at that time he only used for advertising purposes. Finally, he moved to the apartment at 1219 Cangallo Street, 5th floor, apartment 22, that would become the meeting place of the intellectuals of those days. One of the rooms was turned into a study, where debates took place. In his book "Dos más dos son más que cuatro", Arturo M. Lozza, Raúl’s son, described that place in detail.
With the geometrical structures made up of hundreds of books neatly placed on the shelves, each of the walls in that room resembled a painting by the Dutch artist Pier Mondrían. The room included his wife’s Schumann & Son piano, a desk on which there were always notes orderly displayed, as well as a little drinks cabinet, which seemed to be an extension of the bookshelves. On these bookshelves, instead of books, there