Monument is done by national competition; initially Asorey was not chosen, but after of a discussions and proposals is in charge of carrying to term being appointed by the mayor and the president of the Academia. It's opened by Alcalá Zamora in 1934.

Emphasizes the combination of masses and hollows, in addition to composition with marked up ascending accent. The monument had a budget of 60.000 pesetas and is unfinished, since only the foundation stones, the transport and the placement, cost great part of this quantity.

The framework for the central composition is formed by large boulders as a Celtic dolmens, separated from the center and giving height, which contributes to the attitude of the woman with arms raised. Also appear monstrous figures that connect to the base of the Pórtico de la Gloria and in this case symbolize the evils of Galicia: chieftaincy, usury and injustice, Curros tried to defeat them in his work and his life. The figure of the poet, 3,30
meters, is squashing those evils. He was wearing a cape and a lyre in his hands, which sought to "punishments for executioners, for the crowns martyrs".

To the sides there are a high-reliefs, depicting the life of the village; on one side shown the crushed for the weight of the results and the hardness of work, wielding the farm tools and showing the face in the presence of the representations of taxes, continuing forward with energy, the feisty Galicia. This is accentuated for the energetic work of the bodies and the figure of an ox, alluding to the Universe. On the opposite side is the sweetness represented by agriculture and female figures framed by the figure of the horse. They are a new apotheosis of Galician woman. First we find to the mother with the child, highlights the work of the body tight cloths. After of this group, we have two women, which representing the work in the field, carrying a yoke (which we already saw in Santa) and a sickle. Spikes and flowers accentuate the concept of the field.

About this group the apotheosis of Galicia, nude woman with arms raised to heaven stands. His torso has been worked categorically and is of enormous plasticity.

Asorey realized a hollow in the back part, framed by dolmens also intended to shelter a representation of the Virxe do Cristal, which was never carried

The history of the monument started shortly after the death of Curros, since the transfer of the body is requested from Habana to Coruña: the Academia Gallega and the Asociación de la Prensa, chaired by Murguía and Casás respectively, initiate the paperwork for to build a monument as a mausoleum. The Asociación de Prensa organizes an obituary evening by selling tickets assistance and looking for contributions of personalities like Vincenti, Linares Rivas or Murguía, obtaining 2.000 pesetas whose destiny is to start the monument.

Meanwhile born in Buenos Aires the Comisión Curros Enríquez for to provide a posthumous tribute to the poet, calling upon the emigrants for to add fees and can erect it in Coruña the Escuelas Curros Enríquez. Collected 16.000 pesetas sent to Coruña. Meanwhile, "El Diario de la Marina" of La Habana started a collection with the intention of to acquire a funerary monument offered by the sculptor Huertas, this monument would be located in the cemetery or in the gardens of the future school.

In 1908 is created in Coruña a committee chaired by the mayor Lens, the Academia Gallega, the Asociación de Prensa and the Academia de Bellas Artes to raise funds for the monument and the school group, but they didn't obtain the awaited results therefore the project is forgotten.

Later the Academia Gallega and its correspondent in Buenos Aires, Davila, are still trying to unify ideas and sums already collected. In 1921 it achieves an agreement: the funds not will be for a school and mausoleum but to a monument, proposing like location the square of Orense. A Spanish artists contest begins, here has absolute power the committee of government of the Academia. The death of their President Murguía is a further delay.

His successor Martínez Salazar gives renewed impetus to the project; and the March 27, 1922, designates to the council the location of the monument is requested, all donations being unified, reaching a total of 50.744,45 pesetas.

The council appointed in April of that year the gardens of Méndez Núñez like site, also the use of Galician granite for the monument, which must have space to deposit an urn with the ashes of the poet. The bases of the contest are prepared, and on 22 July 1923 placing the foundation stone. But the death of Salazar supposed a lengthy delay, having to wait for 1927. On March 7, 1927, the committee of government of the Academia with Rodríguez González, Estrada y Martínez Moras summons the project contest, which the jury at September 7, declares desert.

The following year, coinciding with the anniversary of Curros Enríquez, the second contest is announced, on August 11. The jury was the Marqués de Figueroa, Sotomayor, Palacios, Lloréns y Rodríguez González, and give the first prize to Asorey. The conditions are signed but the work isn't completed on time due to the illness of Asorey, the change of the location advised by the technicians, the workers' strike, and the expense of 60.000 pesetas delivered to Asorey only for the stone and the workforce. In front of these difficulties the council, with González Ferrín at the head, calls on the Academia to collaborate economically, and finally pays the amount of the second prize and providing the amount remaining to the conclusion, which will be in 1934.