Morris uses characteristically strong colours and bold forms in his landscapes. In addition he textures the surface with a thick impasto which animates the canvas. This is especially evident in the rough surface of the river and prickly vegetation in the foreground of the painting. Morris's preoccupation with forms and shapes anticipates the brief period in which he was to experiment with abstraction. In 1923, the same year as this painting, he was working on Experiment in Textures (Tate T06970). Despite his contact with the avant-garde, Morris based his landscape paintings on direct observation of nature.... Although this work appears to be a radical departure from Les Ponts de Céret, Morphet suggests that it shares affinities with his landscape compositions. He remarks that in this abstract composition, 'there is a strong analogy with forms of nature, and a latent sense of natural forces' (Morphet, p.28). (http://www.tate.org.uk/art/artworks/morris-les-ponts-de-ceret-t07784)