The painting of this interesting Castilian artist is connected to the Realist movement propelled in the 1950s by the painter Antonio López (1936) and which coexisted alongside the rest of the Spanish avant-garde movements of the time.

The artist began his training at the School of Fine Arts in Madrid. However, a critical factor in honing his style was the period he spent at the Spanish Academy of Rome, after which his practice evolved towards a conceptual study of time which he rendered in series, earning him a reputation as one of the most unusual of the figurative artists of that moment.

Equally noteworthy are his portraits, painted from the model, generally in one sitting, in which he was primarily interested in the beauty of the unforeseen that

 alla prima 

Also known in English as wet-on-wet, this Italian term means “at first attempt” and is used to name a painting technique which, instead of distributing colours layered one on top of the other, applies them quickly and directly in one session, while the paint is still wet. This method requires self-assurance and finesse, relying solely on the brushwork to give shape to the composition, model the figures and distribute light and shadow without the need for any preliminary drawing.

painting brought to the canvas.

His views do not depict specific places, pastoral or idyllic settings, but trivial mundane views featuring roads, factories and even electricity posts, as is the case of the work at hand, close in style to Paisaje nublado de Cantabria also in the BBVA Collection. Despite the melancholic air conveyed by the sense of abandonment of the tyres, the setting is charged with great strength due to the masterly choice when it came to framing the composition. Exceptional contrasts of light can be appreciated in the folds of the plastic in the foreground and in the light, spontaneous nature of the landscape in the background.