A work in which elements intervene that distance Sarah Affonso's painting from the naturalistic grammar that was widespread at the time. The location is essentially scenic, the S. Pedro de Alcântara garden-viewpoint in Lisbon. We find formal and compositional abstractions that follow the trends of European modernism, to which Sarah Affonso was exposed in the 1920s in Paris. The vocabulary of this work focuses on a simplification of the line and an imprecise description of the figures, directing the viewer's attention to their posture and activity. The temporal organisation is interrupted by the boy on the scooter who fleetingly crosses the view, introducing an idea of speed, which in turn possibly indicates an expectation of modernity that can be guessed at.

SP