Autumn rarely arrives all at once. September is more subtle than that. The trees have not necessarily surrendered their leaves, nor has the landscape become the fiery spectacle we now associate with the season. Instead, something happens to the light. Greens become duller. Fields dry into ochre and gold. Shadows lengthen. The same landscape that appeared almost endless in July suddenly seems aware of time. For painters working outdoors in the nineteenth and early twentieth centuries, these changes were not merely seasonal decoration. They were problems of color, atmosphere, light and perception. And for women artists, landscape could offer something else: access to a world beyond the portrait, drawing room and domestic interior to which women were so often culturally associated.

In our previous issue of Bruja Magazine, we explored the enchanting world of Ana María Gómez López and her project, Serecho a Mano. Through handcrafted sculptures inspired by folklore, memory, and imagination, her work reminds us that art has the power to resurrect wonder in a world that too often forgets how to dream.