The painting Verderol, cauce de abril was one of three works exhibited in "Veintiséis pintores, trece críticos: panorama de la joven pintura española", a show mounted by Fundació "la Caixa" in the same year they were done. La verdad oculta, from the same date, was exhibited alongside them. This painting is, if not anomalous, undoubtedly from a quite specific and special period in Teixidor's career. Which, one might say, distances it from the most usual and best known model of his work. Painted shortly after his return from New York, in this picture, as in others from the same period -since the series to which it belongs was begun early in the decade, a few months after he arrived in the city- there is a definite break with the rules of Minimalism and even of his earlier and later abstraction. The naturalistic or landscape references seem beyond question, for all that the forms have been diluted in almost fluffy stains of colour, superimposed on one another until they make up a unitary image in which everything springs from the colour. There is also something atmospheric and ethereal, a certain vapourish quality which allows the pigments and the open spaces between the forms to breathe. For all that the only continuity of this period in Teixidor's work was three years later, when he came close to nature again -on this occasion to horizons at sea-, it was important at the time insofar as it meant a deliberate shaking off of certain dogmas and theoretical rigidities which suffocated the work of other contemporary painters.
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