This work is a good example of the predilection for landscape of this painter and printmaker from Madrid.

He borrowed the nom-de-guerre of Redondela from his father, the painter and stage designer José González “Redondela”, from whom he acquired his taste for art. In the mid 1940s, he entered into contact with some 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.

. Familiar with the historical avant-gardes, especially , Expressionism and , his art evolved towards a more personal style that was removed from changing trends and movements.

Although he also painted portraits and still lifes, landscape was the foremost genre in his painting. In the 1950s he embarked on an intensive series of journeys throughout Spain in the company of his friend the painter Cirilo Martínez Novillo (1921-2008), making drawings from life that he later used in his studio as the starting point for his paintings.

The work at hand is a late piece where the fauvist tones of the 1950s and the baroque style of many of his previous works are now absent. Here, the artist has synthesised the details of the landscape and rendered the houses in a sketchy fashion using a sober palette. The image brings to mind the austere and sombre post-war landscape, albeit with an elegant, carefully executed and intimate composition.