Rusiñol usually composed his works using grand classical perspectives, such as the one used in this Jardín classico (Classical garden). A moss-covered stone path leads to a pergola with three semi-circular arches and two classical white marble sculptures can be made out just in front of it. Most of the landscape on the left is concealed by the cascading leaves of a weeping willow (also known as a Babylon willow), a tree native to China characterised by its pendulous and flexible branches that reach the ground. An intense backlight in the background presages the powerful light of summer afternoons.

In this composition, Rusiñol fused two of the pictorial schools of the period, the Luminist and the Symbolist, which were popular in Europe. His seascapes were influenced by the style of the Belgian artist William Degouve de Nuncques (1867-1935). In his landscapes, we can discern the influence of Joaquim Mir’s painting style, with his characteristic patches of colour.

This composition could be a view of the Jardín del pirata (Pirate’s Garden), with the sea in the background. Rusiñol painted two well-known canvases of this garden located on the western coast of Palma (Laplana 15.1.12 and 15.1.13), dated at the beginning of the 1900s.