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.