It is true that I had painted landscapes in my pictures but they were more concise, simpler, more Dalinian than Flemish so to speak.
Looking for inspiration for this painting I came across the work of Patinir. It was a surprise that I told so in my diary:
“Today was the day of the discovery of a Flemish painter who, despite the exhibition that the Museo del Prado did to him in 2007, I did not know: Patinir. I was totally stunned with his “Landscape with San Cristobal”. I have been able to see the black and white picture and observe the brutal handling of values. This impression made me modify the sky of “The Well of destiny”, having Patinir’s skies in mind, trying to get closer to them. “
From that moment I began to investigate about the work of the Flemish master and I tried to make my landscape gain in depth, that appeared different strips that like steps to organize mountains and meadows to the horizon.
The next picture in the series was “Waterfalls”. This picture, the product of an image in a dream, also presented an indecisive landscape in its first sketch, the most automatic, which had a more recent impression of the dream image.
However, with the second sketch, with the reasoning, the landscape was again gaining depth, acording to Patinir. And the same with the third that was a watercolor note.
When I passed the painting to the oil, the landscape was detailing and gaining in importance.
Something similar happened with the following picture in the series: “Geometric inquietude”. As is indicated in the title, initially the painting was posed following a very rigid geometric pattern as background. I had experienced this idea in two previous watercolors: “Proportions” and “Footprints” and I was prepared to do the same in this new oil painting.
However, as the work progressed, the landscape prevailed to the geometric pattern.
Subsequently came “Nothing at all”, a picture in a format identical to that of “Geometric inquietude” and with the same intentions. It was different here, although I was not yet aware of the existence of a series, I intuitively knew that I was going to experiment with the same scheme. This is reflected in the beginning of the oil painting, where the traces of the background landscape already appear.
I began the later works of the series thinking already in that infinite landscape in the background. The next one I started and that ended before “Geometric Inquietude” and “Nothing at all” was the watercolor “Ulysses and Penelope“. In this case the landscape was a little different from the previous ones and a great rock where the personage of Ulysses was sitting gained in importance.