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Both the painter and Jenő Paizs Goebel belonged to the founder members of the Szentendre artists' colony (1926). Barcsay only arrived at the colony in 1929 and made friends with Jenő Paizs Goebel immediately. Though their art have completely different features, they held each other in high esteem. "Goebel was also a very kind fellow, and it was not only his character but - and much rather - his talent that attracted me" - Barcsay wrote in his memory. Therefore, the two friends were ready to pose for the excellent portrait painter.
Behind the two standing figures, there are paintings by Barcsay: one depicting a whole-figure working-class girl and the other presumably representing the hills around Szentendre.
The two painters are standing in a relaxed posture, Paizs Goebel holding his arm slack around Barcsay's shoulder while the latter is glancing at the onlooker with his hands in his pockets. In spite of all these and Paizs Goebel's boiler-suit, the picture has a grave atmosphere. Their stern face and look suggest that they consider the portrait painter's work and through it painting as such their real vocation.
From this period, this is one of the main works of Bánovszky, in which he reached a psychological manner of representation.
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