This work is an excellent example of the landscape skills of this painter and engraver from Madrid.
 
The artist borrowed his nom de plume from his father, the painter and stage designer José González, known as Redondela, from whom he inherited a taste for art. In the mid 1940s he became acquainted with members of the so-called

 School of Madrid 

or Young School of Madrid, is a term coined by the art dealer and bookseller Karl Buchholz and the art critic Manuel Sánchez Camargo to name the group of Spanish painters—many of them from the Second

 School of Vallecas 

(1927-1936) founded in 1927 by Benjamín Palencia and Alberto Sánchez with the purpose of renewing Spanish art in line with what was happening elsewhere in Europe. Landscape became the main subject matter of this school, albeit a highly sober landscape influenced by Hispanic primitivism, fauvist colour, a surrealist approach and cubist order. The starting point was the arid, barren land on the outskirts of Madrid in the direction of Toledo, stripped of any superfluous object and worked with economic brushwork and a palette of earthy tones. This take on landscape straddled tradition and modernism. The School of Vallecas disbanded with the outbreak of the Civil War, although it was the only school to rise from its ashes, reborn in the Second School of Vallecas (1939-1942).

—who took part in the group exhibition held in 1945 at Galería Buchholz in Madrid. This group has sometimes been considered a mere commercial project driven by art critics and gallery owners with a view to creating a market for landscape painting.

. A connoisseur of the historical avant-gardes—particularly of , Expressionism and —his art practice progressed towards a more personal style that disregarded changing fashions.
 
Although he was also a painter of portraits and still lifes, landscape was the main focus of his work. In the 1950s he travelled widely throughout Spain in the company of his friend, the painter Cirilo Martínez Novillo (1921—2008), making sketches from life that he would later use in the studio to create his paintings.
 
In this work Redondela intensifies the constructive elements, the houses that define the compositional rhythm and the organisation of the refined material. Unlike other landscapes dated from the 1970s and also in the BBVA Collection, in this work he used a lighter palette dominated by earthy tones for the fields in the foreground leading towards the group of houses at the foot of the mountains.