This work, a good example of Baldeón’s mature practice, shows the artist’s proclivity towards a more expressionist and gestural painting as well as his mastery of the elements used.

His training at the School of Fine Arts of Valencia introduced him to

 British Figuration 

commonly known as the School of London, this movement from the 1950s and 1960s included Lucian Freud, Leon Kossoff, Frank Auerbach and R. B. Kitaj. It was Kitaj who coined the term School of London to cover the group of artists he belonged to in the essay he wrote for the catalogue for The Human Clay, the exhibition he curated.

, from which he evolved towards Expressionism.

Baldeón conceives his practice as a meditation on the intrinsic problems of painting, ranging from the process of creation itself to the effect of the finish work, when the ambiguity between the real and the represented gains greater import.

In the second half of the 1980s the artist’s work underwent a process of formal simplification and a more analytic treatment, and he began to experiment with , influenced by American abstract movements, something quite noticeable in this work, where colour —the primary focus— is used to conceal the virtually nonexistent figurative references.