María Gómez’s work, in a style characterised by figuration in its expressionist guise, began to be regularly featured in solo exhibitions from 1983. Working with an austere palette—intentionally limited to ochres, greys, duns, greens and yellows—she creates series in which the landscape is the main subject; the human figure is absent or appears only rarely in an attitude of reflection, and her pieces have a markedly romantic look. In the case of Paisaje con obrero and Paisaje, the inclusion of a labourer as a prominent figure in the foreground of the first painting, with a road in the background and a car with its headlights on, offer us a glimpse of the contemporary world without introducing the slightest element of realism in the representation. All Gómez’s work fits into the post-Romantic formal tradition, from which she only strays on occasion in her choice of medium, with occasional forays into sculpture. Her sculptural pieces are always in the round and adhere to classical canons. A deliberate sobriety accentuates the sense of solitude that pervades all her work, which is imbued with austere mysticism. Her paintings of nature, which offer no clear clues as to time or place, are bathed in crepuscular light, shrouded in darkness, misty. They speak to us of the artist’s interior landscape. It has sometimes been suggested that her work is reminiscent of German Romanticism, but it may be more apt to describe this quality as Castilian austerity that is also metaphysical in nature.