Quejido began to paint on arriving in Madrid in 1964. Starting from Expressionist principles, he experimented with geometry, visual poetry and conceptual and cybernetic projects at the Universidad Complutense’s Calculation Centre. He was a member of the movement in Madrid, and in the mid-seventies he returned to painting, opting for a provocative, ironic figurative style with overtones. His work, with vibrant brushstrokes, is characteristically vivid and uninhibited in its colouring.

Visión de las

 náyades 

(naiads) mythological fresh water nymphs.

is representative of his mature period and is part of a series he produced in the eighties. The process of reduction of figures is very marked; the characters merge into the landscape and become part of it. Their forms are imperceptible, visible only to those who are determined to find them. The brushstrokes pervade the canvas in an explosion of colour.

In this composition, in which the artist moves outdoors, we can detect some echoes of Dejeuner sur l’herbe by Édouard Manet (1832-1883) but, above all, of the painterly idiom of the Bathers of Paul Cézanne (1839-1906) and Henri Matisse (1869-1954). A homage to the pleasure of painting.