His production during this last stage can be divided by themes into two series: Mito, magia y misterio (“Myth, magic and mystery”) and Figuras y paisajes (“Figures and landscapes”), with the works exhibited here belonging to the latter series. They depict scenes from the daily lives of people living in the periphery, mainly indigenous women working the land, as well as motherhood. His figures are shown hieratically,  either standing, sitting or squatting, with a use of colour that ranges between sombre and warm. Despite the mundane nature of these scenes, Gambartes always subtly included the magical world that was typical of the communities represented. From his last stage, we could highlight his experimentation with plasticity, material and language, inventing the pictorial technique cromo al yeso (“plaster chrome”). His direct influences include Antonio Berni, David Alfaro Siqueiros, Joaquín Torres García himself and Paul Klee.

His vision problems affected him for life and would also be a major influence in his work. Unable to see a surface larger than 30x40cm without deformation, for works that were larger than his field of vision, the artist painted fragments that were joined together in a final composition, with him never being able to see the whole work at any time.