Rolando de Sá Nogueira began his artistic career in the 1940s, in a national context marked by neo-realism and surrealism. He began exhibiting in 1947 in the II General Exhibition of Plastic Arts, holding his first solo exhibition only in the 1960s.The lyricism of his early production was followed in the 1960s by a language influenced by Pop Art, a transformation for which his stay in England between 1962 and 1964, with a scholarship granted by the Calouste Gulbenkian Foundation, was decisive. Collage, photography or themes related to daily life and the body then enter into his plastic creation, from which an ironic political and social commentary often emerges. In - Os Pássaros Também Gostam de Flores we can recognise some affinities with collages by contemporary artists, namely with Júlio Pomar and Nikias Skapinakis. The importance of colour in the composition's structuring may derive from a lesson learned from Pop Art, but it also seems to reflect the more distant influence of some modern masters, such as Matisse, whom Sá Nogueira had known since the 1940s through illustrations in books. Playing with dichotomies such as background/figure and figuration/abstraction, the artist superimposes a green background over the white of the paper, over which he disposes, in a lively movement converging towards the centre, his cut out forms: white, black, green, brown, and ochre forms overlap rhythmically, blurring what is form and what is background; if in some of them we can guess a referent (such as the brown flower in the lower margin or the white head in the left margin), most of them are clearly abstract. The work, like its title, merges poetic lyricism and irony in a joyful joviality.LC