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Although Price never entirely abandoned representational form, his late work grew increasingly abstract as he became more and more interested in the texture of the paint itself, the richness and expressive power of color, and the arrangement of shapes on the flat surface of the work. Like the great pioneer of nonrepresentational painting, Wassily Kandinsky, Price came to see the elements of art as an abstract language capable of communicating intense emotion. In this work, Price turned in abstract terms to the subject of the mountain, a theme often explored by his friend Charles Heaney. Price achieves an effect of monumental solidity by means of heavily textures paint and tightly interlocking planes.
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