This work, which seems to represent a landscape or some kind of plant structure, as if it were depicting the leaves of a tree, is much more than that: it is a poetic and thoughtful representation that tries to show the spectator the emotional and spiritual condition of its creator.

After training at the School of Fine Arts of Valencia, in 1966 Teixidor began working at the Museo de Arte Abstracto Español in Cuenca, where he soon became acquainted with the artists grouped around it. From that moment onwards, his practice, initially close to , shifted to a form of leaning towards and conceptually closer to US , Barnett Newman (1905-1970), Mark Rothko (1903-1970) and Julian Schnabel (1951).

Little by little, Teixidor grew more interested in colour per se and in strictly painterly issues, chromatic ranges and rhythms and in the positions championed by the French movement, which he joined in the late 1970s, getting in touch with the painters revolving around the magazine Trama.

This work is dominated by colour and by expressive, free-flowing and energetic brushwork. The paint seems to slide down the canvas, organising itself in small groups of colour. It is an example of so-called Abstract Impressionism, of which Joan Mitchell (1925 - 1992) was the main exponent, a second generation in which pathos has been abandoned in favour of colour.

In this work we can intuit a revisiting of Monet’s water lilies, applied with expressiveness and with a free gesture. It is a sort of “emotional landscape” of the artist’s feelings, where order and balance are to the fore.