The use of portraiture, a classic genre of painting, and the theme of literature are a constant in Júlio Pomar's career, manifesting themselves as a relational practice linked to his personal affinities and cultural interests. In the early 1970s, Júlio Pomar began a cycle dedicated to portraiture of figures close to him and of figures from the arts and literature, including Camões, Bocage, Almada, Santa Rita, Amadeo, Allen Poe, Baudelaire and Manet. The poet Fernando Pessoa stands out among these characters, becoming one of the most recurrent figures in his work. Pessoa is one of the reference authors for Pomar, reinvented at various times, and who acts as a motto for plastic experimentation and stylistic exploration, translating a diversity of technical approaches and media. This interest continued throughout his career, with several series of portrait works featuring Pessoa, namely in the artistic intervention in response to a commission for the Alto dos Moinhos metro station in Lisbon. The featured work, - Fernando Pessoa, signed and dated 1985, is considered one of Pomar's autonomous portraits of the poet, depicting Pessoa in a frontal, half-body position with his iconographic hat and glasses. It is an exercise in figuration that is not limited to likeness, but which opens up space for gestural freedom and formal experimentation marked by a strong expressiveness. Composed of loose and vibrant brushstrokes, characteristic of Pomar's style at the time, this painting combines patches of intense colours such as pink, blue and green with ochre and pastel tones. The face and clothing appear as visual fragments, in a stylised language that deconstructs and fuses the figure with the painting's background, revealing the richness of the dialogue between figuration and abstraction that defines Júlio Pomar's artistic maturity.