Sanvisens came to Andorra following in the footsteps of Joaquim Mir, of whom he was a follower, as well as the Llotja School, where he was a professor. The landscapes became the main subject of his paintings. In the painting Andorra, despite the diagonal construction and the vanishing point perspective of the landscape, he paints with a post-impressionist colour and palette. The treatment of light illuminates the slate rooftops of the houses and the church -the entablature typical of traditional Andorran architecture-, in the foreground, complemented by the intense red counterpoint of the beams, also on the roofs, which give the work its weight in the lower half. This then leaves the eye free to look towards the movement of the landscape and the mountains, with rapid, sparse brushstrokes used to define the features in a blurred manner. At his exhibitions in Barcelona in 1947 and 1949 at the Sala Barcina, he showed the Andorran subject to the Catalan public for the first time. The effect of the sunlight on the villages in the valleys is recurring throughout his Andorran work at the end of the 1940s.