In his search for a nationalistic Cuban artistic expression, typical of artists working in Latin American and the Caribbean in the 1930s, Mario Carreño looked to Cuba’s folk art and popular music for inspiration. He wanted to depict the cultural synthesis of the island with its Negro, Antillean and Creole rhythms. The flat stylized figures reclining in an interior landscape replete with butterflies appear as cutouts assembled from a variety of parts. There is a whimsical mood about a scene in which totally invented organic creatures cavort amidst non-existent but seemingly logical arranged figures. Carreño depicts the group in a freely moving cursive calligraphy of line and color, rather than descriptive detail, composed of pure form.