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Actually, quite quickly, quotations fall in as if the movement of the painting itself no longer needed the contribution, the support of borrowed forms, the way musicians often draw their inspiration from others in order to orchestrate a theme differently. This practice still appears, though much more rarely. The pictorial language is now well mastered and flourishes in the proliferation of nature.
The tree is to be identified as Rembrandt's Boeuf écorché. The light comes hitting a tree's core, which, due to the burst of the bark and the sapwood, displays its internal organs. Higher is a gaping mouth; on the right, an eye reflects the spectator's look; in the crumplings of the bark stands a petrified night bird.
In the background, a buffalo a dark, dense, stable mass- counters, through its obstinate strength and its basis, the oblique movement due to the split of the tree. There is an obvious reversal of the roles between the two paintings.
The branches move and grow along the curve of the arc of a circle. These branches thrust upwards in a common movement and through the color of a walnut tree. The tree is burning in the middle of a hectic meadow the hidden beings that haunt Nordic mythologies are engaged in their customary jokes.
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