In August 1921, Joaquim Mir married María Estalella in Vilanova i la Geltrú. Some months afterwards, he would settle in this locality, first in a house on the seashore and, afterwards, in a house with a garden, vegetable patch and henhouse, which would become one of the central themes of his paintings in the last period of his career. Additionally, during this decade, Mir went on a series of short trips to nearby locations such as Canyelles, Calafell or Alforja, among others. These trips allowed him to discover new places where light, and the connection of light with nature and the sea, allowed him to attain new pictorial achievements.

We situate the present work Paisaje (Landscape) in this period. It is probably a landscape in Vilanova or Calafell, as can be determined by examination of the brushstrokes and the overall composition of the painting. Mir captures the humidity and the suffocating sun associated with the coast: his brushstrokes are thicker than they were in his Majorcan and Camp de Tarragona periods, now dense and clumpy, and the decomposition of the colours serves to dilute the contours of the elements making up the landscape. This technique can be clearly noted in the tree, which serves as the central axis of the whole composition. The tree is the main protagonist of the painting and divides the landscape into two well differentiated sections: the section on the left, where the painter depicts the countryside with a high horizon therefore leaving a small part for the sky; and the area on the right, where the luminous clouds open, connecting with the sea and a stone wall in the shadows which contributes to the sensation of volume and depth.