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Members of the Eights knew art had to support their plans to reform society with their own tools of agitation, and that the traditional panel picture was no longer suitable for it: frescoes in community buildings affect larger amounts of people. Besides Kernstok, Pór was most attrected by such tasks. Plans of economic and social change were not yet fully developed, and the same applied to art: new agitative painting lacked in subject matters and language. Pór turned to ecclesiastical art which affected hundreds of thousands of people and which had subject matters and iconography for centuries since it rlied on episodes of the Bible. Artists were convinced that the reform could be carried out with peaceful methods and that people would follow new apostles as the desciples followed Jesus. This belief rich in emotions radiates from Pór's fresco designs. The picture gave rise to a lot of debates. It is a shocking picture. Its huge terracotta coloured figures force one to stop. They are arranged along the axis in the middle symmetrically. Figures appear as a group of statues from the pastel blue background. Strong contours recall art nouveau. He depicts muscles and the anatomy of the body the same way as renaissance masters admired by Pór did. Figures are linked only by these outer features. Eyes focus on different objects, as in "Family", but they express stronger, mostly lyric emotions. The two figures on the sides who are half turning back represent dismay and hope, respectively. Artists of the Eights had concrete aims in 1919 and found the genre most suitable of affecting crowds of people, it was the poster.
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