The conscience of two aspects of the predominantly white works of the 1920s, which have been the object of much commentary—namely, the double emergence of the canvas and the light as veils, and the parallel functions of what is represented (an eccentric moment of blind light) and of the supporting surface as material glazes—grants these paintings of tropical sunlight the appearance of nebulous images, of hazy vistas. Unexpectedly, the painting of the tropics becomes visible as a wintry landscape, and the violence of the sun is confused with the opacity of fog.