Les Amandiers en fleur depicts a typical scene along the Spanish Mediterranean coast during the months of January or February, although the precise location is unknown.

As is common in Regoyos’s work, a human figure appears in the landscape, in this case acting as the focus of attention. It is unusual to find a landscape by the artist where there is no figure present. As an anecdotal motif, Regoyos includes a red parasol of the type often found in the Impressionist paintings by Monet and his close friend Camille Pissarro.

The composition of this picture, painted from the terrace of a house nearby, comprises the horizontal lines (of the river banks and the horizon) and the diagonal lines of the path, while between them the spaces are arranged to form a perfectly balanced whole. In addition, the artist applies his considerable knowledge of the Divisionist technique to obtain a green countryside filled which colour and variety through the precise use of the brush. This acts as a perfect contrast to the paths that have lost their surface of grass due to the frequent passing of carriages and people. Regoyos was particularly skilled at conveying the exact texture of this type of track.