Landscape was Francisco Lozano’s sole focus. His style, together with that of Genaro Lahuerta, was dubbed with the name of “creative gaze” in recognition of their new way of representing landscape, divested of all superfluity, eliminating all supplementary or distracting elements, all lights and reflections: leaving just the bare landscape at its purest and most natural.

A continuer of the landscape school of the Valencian region, Lozano’s early work acknowledged the influence of local-born masters such as Pinazo and Muñoz Degraín. Conversant with the work of the avant-gardes, and in particular with and , he endowed his works with a liking for the light of Spain’s Eastern coast and for Mediterranean colour.

Lozano created thickly impastoed paintings, heavily laden with matter to produce rough sandy surfaces. His brushstroke is aggressive, nervous and expressive but at the same time meditative and well structured in a palette of usually earthy tones. Empty areas are important in his paintings, allowing the canvas to act as a complement to the colour and in some places actually standing in for paint to colour some sections of the landscape.

Throughout the 1960s Lozano began to develop what he himself termed as Mediterranean Fauve Expressionism, and introduced into the landscape the subject of beached, almost ghostly boats, depicted in the foreground, occupying most of the scene and even overstepping the limits of the canvas.

His landscapes are generally coastal although the sea itself is absent, depictions of low-lying albeit not flat lands, with mountains in the background providing depth to the scene and high horizons that leave just a small section for the sky. They are desolate nearly barren landscapes, divested of any life. As in the rest of his works, here light floods the whole of the painting and totally suppresses any shadows.