García Barrena was one of the most notable painters of the so-called Basque School, a movement comprising a number of artists who wished to exalt and foster Basque culture and traditions through their work. This shared goal, whose ambition went much further than subject matters or geographical references, defined García Barrena’s painting throughout his whole career, individualising it with respect to other possible interpretations. His constant quest to strike a balance between architecture and feeling led to deeply intimate landscapes that stand as visual testimony to the spirit of the place while abiding by the universal laws of painting.

The work in hand is an excellent example of his approach to cityscapes. It depicts a corner of the old quarters of Ondarroa, with the Santa María church surrounded by buildings, like a series of geometric structures that organize the space. Worth underlining is the extremely subtle range of tones and colours, as well as the technical quality of the loose brushwork and the exquisite application of separate glazes. The palette of colours has an overall sombre hue, based on ochres and greens and the odd contrasting touch of red, which helps to achieve an integrated and harmonious painterly mass. A key element in García Barrena’s painting is the study of light, that models time and space to lend a natural appearance to his landscapes and unify the scene, creating a sublime atmosphere endowed with great inner strength and utmost visual expression. As a whole, the artist manages to convey to perfection the characteristic damp climate of the Basque Country, rounded off with a greyish sky he renders with accomplished virtuosity.

Several influences may be traced in his production. The significance given to colour and an interest in the fleetingness of time are reminiscent of Impressionist painting, while his treatment of the space through different planes, created using contrasts of light, is indebted to the of Daniel Vázquez Díaz (1882-1969). In turn, the simplicity of the composition, the free-flowing technique and the forceful volumes are clearly influenced by Darío de Regoyos (1857-1913), one of García Barrena’s major references. Also worth underscoring is the influence of Flemish masters, patent in his conception of art ever since his earliest experience in Antwerp during the Civil War and then reinforced when he returned to the city years later. García Barrena’s oeuvre is a perfect symbiosis of Basque and Flemish influences, perceptible mostly in the candour and in an aesthetic pathos that connects with his understanding of art. And, similar to Flemish artists, his skill and seriousness in the execution speaks of a humble attitude to art, driven by a desire to create a delicate and intimate painting.