After a period of experimentation in the field of Informalism, in the 1960s René Bertholo began to explore a Neo-figurative grammar that questioned the traditional structures of pictorial composition. In the works produced then, one can identify quotations from surrealist processes of psychic automatism; evocations of research into abstraction; reminiscences of the graphic language of illustration and comics; and a certain pop attitude. Based on an inventory of scenes or objects that relate to each other in irrational connections, the works produced in this period explore - and go beyond - the limits of narrative logic.

In this painting, the composition is structured around the representation of two windows, which appear in other works from this period, and seem to refer to the artist's experiential spaces. In the same way, but without suggesting any narrativity, the neon sign on which we glimpse the words "Au bon La Fontaine" (possible Parisian café or brasserie) and the figures distributed in the upper section of the pictorial space, in clusters or arranged in games of repetition, evoke motifs from daily life, thus seeking to create a dialogue with the referential memories of the observer himself.

This work is characterised by the apparently aleatory disposal of the elements in space, in an ascending movement. It contributes to balance pictorial heaviness and lightness and stimulates the observer to question the rules of the centrally hierarchical composition. The correlation between the objects - some known and others unidentifiable or even abstract - is established through purely plastic values. The secure and precise drawing stands out, as well as the gentle and poetic colours, which bright and soft, contribute to constructing a dreamlike place that dialogues with our capacity to hold space and time.