In At the Fountain of Toledo, another of Rivera’s Spanish landscapes, the influence that cubism was beginning to have on the painter at the time is really clear. The work shows the development of flat, abstract shapes in both the landscape and the female bodies. Cézanne’s influence is visible, as well as Diego’s studies of the golden section, particularly in the arching lines and elliptical curves of the landscape. Geometrical elements can also be discerned in the female bodies —in details such as the breasts, shaped like pyramidal cones— their anatomical composition, their clothing, and the pitchers they carry. The artist’s attempt to represent movement is also evident in each angle he formulates, and especially in the group of three women on the right, who seem to turning in circles as if they were dancing.
Some critics have pointed out that, although this painting bears the indication “1913 Toledo,” Rivera probably finished it in Paris, because by that time he had settled in Montparnasse.