The work of this self-taught Valencian painter was initially linked to an innovative form of abstraction related to the French movement, which gave priority to the material used and the creative process, relegating the subject to a position of secondary importance. His painting, with little constructional or structural grounding, deploys a gestural simplicity including some figurative references. He makes abundant use of , primarily in his most recent work, executing it with discipline and tenacity.

This diptych is from a period in his artistic career characterised by his personal use of colour, somewhat influenced by American Abstract Impressionism and by Paul Cézanne (1839-1906). Using continuous, controlled brushstrokes enables him to capture a serene image of the cypress alongside its mirror image, creating a deliberate symmetry. However, the differences in delineation and colour between the two elements endow them with an identity of their own and convey a sense of harmony.

The idea of reflections also appears in other works from the eighties, with images repeated and multiplied, giving the object a corporeal presence.

The cypress presented here is not that melancholy tree found in cemeteries and associated with the dead, but the quintessential symbol of the Mediterranean, which Rusiñol sought to claim as his own and which evokes the colourful landscapes of Tuscany or the warm patios of Catalonia.