A group of figures gathers on a country path under a moonlit sky, surrounded by flowering bushes heavy with red and white blossoms. At the left, a man with a dark beard and wide-brimmed hat sits astride a donkey, strumming a guitar, his face animated in song. Another man, also in a hat, stands close by, leaning in with a hand on his knee, his gaze fixed on the guitarist.

To the right, a lively group of dancers fills the foreground, their bodies caught mid-step, shawls and dresses swirling with movement. A woman in a yellow dress, her shawl trailing, faces a man in a black jacket and white trousers, both caught in the rhythm of the dance. Behind them, a woman in a white dress with a red flower in her hair smiles broadly, her hands raised, while another couple leans together, the woman’s head tilted affectionately toward her companion.

Further back, figures stroll along the path, receding into the distance where the road curves away under the evening sky. The light glows golden on the figures and the path, while the sky above shifts from deep blue to violet, the moon casting a pale yellow light over the scene. Brushstrokes are loose and energetic, especially in the foliage and clothing, where dabs and swirls of paint suggest the shimmer of fabric and the lushness of the flowers. Details like the donkey’s bridle, the folds of skirts, and the expressive faces are rendered with swift, confident touches, giving the scene a sense of immediacy and festivity.

The composition is dense and dynamic, with the figures arranged in a sweeping arc that guides the gaze from left to right, echoing the movement of the dance and the flow of the path. The palette is rich and varied, with warm earth tones in the path and costumes, cool blues and purples in the shadows, and vivid reds and yellows in the flowers and garments. La última copla is the work of Joaquín Sorolla, whose name appears in the title line.