Around 1930, Dimitrios Galanis gives up painting for engraving. He never turned back as if he had accomplished all his goals related to painting. Indeed, the mid 1920's represent his mature period, for which he was already known to the Parisian avant-garde. At that time he was combining line with colour and his "model" was nature itself; the landscapes of southern France.

As in music, he wanted to comprehend the inner rhythm of nature, the profound symmetry. The pastoral landscape is an important work for it combines natural shapes with shapes imposed by man on nature. There is no disagreement between
them, they ail contribute to geometric harmony. The semicircle of the green field with the serpentine wall unifies the two levels. The warm coloured stereometric houses are formed only by colour, stand pure and stable, almost lyrical in their geometry. The hills are divided into levels by parallel lines and into triangular areas by the zones of trees. The rounded shapes have a constant whirlwind quality, echoing the continual renewal of nature. The order and the power of nature, far from the descriptive and the picturesque, are qualities much appreciated by Cezanne and equally respected by Galanis.