His relationship with Florence, the future Jacinta la pelirroja (redhead Jacinta,) developed into an impending marriage, but the girl's parents demanded to meet the groom before the wedding. Moreno Villa agreed, and they traveled together to New York, while their friends in Spain sent their congratulations and gifts. Salvador Dalí, for example, gave them his painting Mujer sobre las rocas, that the couple collected in Barcelona and is now in the Salvador Dalí Museum, in St. Petersburg, Florida.
The visit to New York stirred a mixture of conflicting feelings for Moreno Villa. On one hand, the most important one was the opposition of the girl’s parents to the marriage, and his realization that family pressures were persuading his girlfriend. Moreno Villa decided to end their love story and returned alone to Spain. On the other hand, he discovered a city and a world radically different that he observed and described in a small series of charming articles later published as the book Pruebas de Nueva York.
On his return to Madrid, in his room at the Residencia de Estudiantes, Moreno Villa faced his status as "newly unmarried poet," as his friend Gabriel García Maroto affectionately mocked him, with an unexpected attitude in him. 1927 was one of the most fruitful and exciting years in terms of artistic creation. He went back to Paris and his relationship with young Spanish artists living in the French capital became more intense. He befriended Bores, Joaquín Peinado, and Viñes. His painting absorbed the new styles that those painters were developing. His Bodegones (still life) and the rest of the work that he painted in this year were in tune with the new style which was emerging from the so-called Second School of Paris, to the point that Moreno Villa could be considered as the genuine representative of this school or trend among the painters who lived in Spain.
He held his first solo exhibition in December and chose an unusual location. The Chrysler store in Madrid's Gran Vía St., exhibited his paintings, drawings and engravings among the latest models of cars, behind the large shop windows. The exhibition, which was a huge critical and commercial success, showed clearly the direction of his painting at that point. Moreno Villa had dropped Cubism and had plunged into an open, free, and lyrical figurative style. The exhibition included a series of engravings on Góngora’s Polifemo (the 300th anniversary of the poet’s death was being celebrated with a program of events in which Moreno Villa was deeply involved).