At the height of artistic mastery, imprecision at the level of the work translates as perfection at the level of the eye. As a landscape artist, Alejandro Quincoces' predilection for the impure and the indemonstrable brings him closer to the poetics of Kiefer that the precision of Antonio Lopez. There are probably few painters of urban views that give as a little protagonism to the lines and contours than Quincoces: always strict is his perspectives but Turner-like in his execution of the work.

His control of textures translates as definition an depth, and changes in hispalette in some strategic points of the composition enable him to illuminate facades, trace the path of avenues and set off alarms. The illusion of the urban proliferates to such an extent before our eyes that we forget that the perspective we are served is not actually possible. We do not notice that in the golden hour of painting everything is matter and abstraction.