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During the 1880's, Silva Porto travelled frequently within Portugal, creating an inventory of places with a palette open to the local light and colour. The earthly tones and light blue sky dominate his comprehension of light. His brushstroke was thick and lengthy, and annihilated the reproduction of values belonging to the referents, like the river. The distribution of landscape through well defined zones entails a triangular rhythmic composition. The vague presence of a figure creates a deadlock that extended itself throughout his work, marking its importance – like his learning of Cabanel and his observation of Troyon – or by renouncing or being indifferent, as was the case of his master Daubigny. Silva Porto would never come to choose one of these approaches, developing both of these attitudes in an indecisive manner.

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