
The starting point for the collaborative work of two painters is Matecki’s uninhibited travesty of Eugene Delacroix’s Massacre at Chios (1824). For Ciecierski, this composition recalled another great work of 19th century painting – Edouard Manet’s Breakfast on the Grass. In response, he introduced multihued, contoured forms and props (cups, utensils, painting tools, tubes of paint) into the painting, which extended the concept of an artist’s breakfast. He also painted in a white square representing a clean canvas, and asked Matecki to fill it in with a representation of Breakfast on the Grass, but with all of the human subjects absent from the composition.