Juhan Nõmmik favored landscapes that could be viewed panoramically and where natural forms alternated with buildings. After leaving Estonia, he sought such painting locations in Sweden, but also further afield. Carcassonne, in southern France, was one such destination—he visited the region in 1957 and 1962, among other times. Tiina Abel has noted that while painting in Provence, Nõmmik increasingly focused on perspective, “organizing architectural forms into a coherent system.” According to her, it is evident that his works are grouped not by the time of creation but by the specific type of motifs, which dictate the creative problems that need to be solved. “Thus, in southern France, the attention to architecture that began with the smoked fish ovens of Bornholm continued. Groups of houses, viewed either from above or from interesting side angles, fill the entire canvas, crowding out sky and space, yet appearing confident and serious.”