Hernando Viñes had an exhibition at the Museo de Arte Moderno in Madrid in 1965 at a time of reconciliation in Spain which was still suffering the aftermath of the Civil War. It was also the moment when Viñes gained favour with art critics, and started to exhibit in galleries such as Theo and Cellini in Madrid, and Sala Dalmau in Barcelona.

Hernando Viñes’ style varied throughout his career. From the influence of Picasso (1881-1973) in his early works, he evolved towards a painting more attuned to French post-Impressionism. The paintings from his later period were defined by compositional harmony and order, as well as by the strength of his brushwork and colouring, as a worthy disciple of Cézanne (1839-1906). The brightness and contrast of the colour brings to mind the painting of the French movement called , in particular the works of Pierre Bonnard (1867-1947).

Hernando Viñes returned continually to landscape over the course of this practice. The work in hand might well be the landscape he saw from his studio in Torre de Madrid, which he occupied in 1966 following the advice of his friend, the filmmaker Luis Buñuel (1900-1983).

This aesthetically delicate piece is an excellent example of the artist’s best work, with a highly personal interpretation of the mountainous landscape in greens, blues and pinks.