In this diptych, the violence and pathos so much to the fore in previous works (1957-63) have been toned down to give way to a strident use of colour, peopled with circular motifs and large marks executed with a growing formal and material simplification and stripped of any symbolic adjuncts. Using just three colours—yellow, red and black—Feito creates quickly executed, spontaneous paintings full of energy and expressiveness, in which the forms are given renewed power and become presences in themselves.

As from 1964, yellow gained greater force in his compositions, providing them with a brightness and strength that draws all the attention on the canvas. However, its presence in Feito’s creation was short-lived and this colour disappeared from his paintings in the late 1960s.