In González Serrano the subject of a landscape is freed from the confines of his imitative desire and rather is prolific in creating imaginary universes, whose elements are always intimately correlates. Starting in the forties his work acquired greater consistency in his discursive elements, avoiding the narrow description which critics so easily claim to be dreamlike. The pictorial world of González Serrano is, like that of Frida Kahlo, unique and real, it does not belong mainly to the world of dreams, perhaps to that of autobiographical passages which, because they are unknown, are cryptic for us. I find in the piece Desde el balcón a certain similarity with the technical treatment that Max Ernst gave the landscapes in his work from the forties, that detailed effect of the organic which he achieved with frotagge and a fine harmonious brush. We know that González Serrano traveled to and exhibited in the United States, especially California, which is why where much of his works located is unknown, which to date has made it more difficult for him to be known to both specialists and the general public.