From the structural decomposition of “Autorretrato” (Self-portrait) (1927), by José Pedro Costigliolo, and by the careful selection of color made by restorer Mechtild Endhardt, the colors of the upper left quadrant —ocres, browns and bordeaux — featured in the original painting are spatially superimposed on the blues and greens of the background. A self- portrait with a clear planista tendency is thus reformulated, confronting figuration with abstraction, by splitting the colors and decomposing the plane while preserving its structure.