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Carlos Quispez Asin was born in Lima, Peru and was the son of Jesus Quíspez Asín and Maria But and brother of the poet and painter Caesar Quispez Asin. He studied in Lima at the Academia Concha from 1915 to 1917 and later at the Escuela Nacional Superior de Bellas Artes with Daniel Hernández. In 1921, he traveled to Europe, where he enrolled at the Real Academia de Bellas Artes in Madrid with a pension granted by the Spanish Government from 1921 to 1926. After almost a decade in Spain, he returned to Lima where he joined a new generational movement that confronted the academic art and costumbrism practices being used at the time. While his generational companions oriented themselves towards the abstraction, he continued exploring the plastic possibilities of Neo-figurativism developing a style of painting distinguished by linear and gracefully expressive drawing and by a delicate handling of oil paint comparable to watercolor in texture and shade. He remained, for a short time, in Peru and then traveled to the United States. For most of the 1930s, he was active in Los Angeles where he painted murals and acted in the local art scene.

His art is mainly dedicated to the human figure and includes works in watercolor and tempera and engraving and sculpture even though he is well-known for introducing mural painting as the most important mural painter in Peru. His great penchant for bulls, which his son Néstor Quispez Asin inherited, was expressed in diverse works, some of which have been reproduced in publications and bullfighting posters.

His first exhibition was in Madrid, and later he exhibited in cities in the United States, receiving a silver medal in Long Beach. He won the first prize at the International Exhibition of Viña del Mar (1937); a gold medal from the Lima City Council (1941) for his fresco paintings, and the National Painting Prize (1950 and 1980).

Some of his murals are located in the dining room of the House of Representatives, at the Ministry of Public Education and at the National University of Engineering. The same composition technique used in his murals was applied to his canvas, following a colorful and vibrating realism. He also used to simplify his designs and reduce them to a symbolic profile, as the cubist does. He achieved a modern style touched with a classical reminiscence. From 1943 to 1969, he taught at the Escuela de Bellas Artes in Lima.

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