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Sándor Bortnyik, an activist painter, was engaged in problems of composition from the early 1920s. He indicated the depth of a picture with a rectangle in the plane of the composition or perpendicular to it. The same principle is present in "Green Donkey" (1924), although motifs, figures and buildings, etc. also appear in the picture in addition to geometric elements to organize space. He applied the same method in "The Painter", too. The two rectangles perpendicular to each other indicate the depth of the room. There is a puppet-like painter in the interior. Windows and curtains folded into columns close the background.
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