From 1964, Beanland swapped his palette knife for a brush and his ‘spot paintings’ began to emerge. His focus moved from texture to light and colour. The building up of surface now consisted of putting a spot at the centre of another spot to give it greater intensity. These loose discs of colour, or ‘flower heads’ as he often called them, act like the impressionst’s hasty tache, describing the experience rather than the appearance of the landscape. However, as Guy Brett remarked in The Times, by "employing crowded, all-over compositions, Beanland gives his paintings a force more reminiscent of Jackson Pollock than Monet or Renoir".

When they were first shown at the Grabowski Gallery in 1967, Beanland’s spot paintings proved popular.
Oil on canvas, 1968
55x80 cm, signed on the reverse