This 25 inch x 24 inch painting is an acrylic on linen abstract work painted by Robert Bonaparte. Done in a minimalist style, Bonaparte utilizes a limited color palette and incorporates a small amount of detail and subject matter. The composition is split up into four different rectangular sections, each determined by color, line, and pattern. The largest section is centrally positioned; the top of this section meets the top of the canvas, while the three other smaller sections border this larger area on the left, right, and bottom. In this section, there are various ambiguous shapes and forms, two of which are enclosed and painted with a solid color. One of these shapes is a dark orange color with vertical wavy lines of lighter orange, and is an unrecognizable form but somewhat similar to that of a banana or an elongated football. The other enclosed shape could also be considered representative of a banana, although the shape bends at a harder angle, somewhat correlating to a boomerang shape; this shape also has vertical wavy lines, in a lighter yellow color than the yellow that fills the shape. The other details present in this section of the work are not enclosed shapes but rather lines that form some sort of indiscernible pattern, painted with a light pinkish color upon the solid light grey background that fills the section. The vertically oriented section to the left of the work is separated by a very thin vertical strip that starts at the top edge of the work and ends right at the top of the bottom section; the thin strip is made up of alternating sections of black and white paint, creating a stripe pattern. The section on the left that is separated by this thin strip, is painted black, with the inclusion of various pink thin lines similar to the ones in the larger section as well as one solid, enclosed shape. The majority of the lines are long, vertical and organically curved, and two leaf-like shapes are made up of smaller lines, positioned close to the bottom edge of the section. The enclosed shape is yet again ambiguous and emerges from the left hand side of the composition; it is elongated and painted with a solid purple color. Below this, and also below the larger grey section, is a smaller horizontally oriented section that aligns the bottom edge of the work. This rectangular area is also painted black and includes a more symmetrical arrangement of pinkish toned lines that form a pattern of upside down and right side up triangles that vary in sizes and are positioned within each other. The last section vertically aligns with the right edge of the composition and takes up roughly a sixth of the canvas, reaching from the top of the work to the bottom. This section is light brown and has vertical zigzag lines that fill it, as well as five yellow diamonds that are not equally spaced together. Overall, the work utilizes a minimalist, abstract approach in subject matter and color, and ignores realistic and representational aspects.

In the vibrant aftermath of WWII, amidst an Oklahoma City blooming with cultural resurgence thanks to New Deal initiatives, a young Robert Bonaparte found his calling alongside his childhood friend and neighbor, Ed Ruscha. While Ruscha's works found global acclaim, Bonaparte's creations remained a treasured secret, known only to a select group of collectors and friends. Born in 1933 in Oklahoma City, Robert Bonaparte emerged as a pivotal yet under-recognized figure in the abstract art scene. From an early age, Bonaparte formed a profound friendship and artistic dialogue with Ed Ruscha, a relationship that would influence both artists' careers. After graduating from the University of Arizona in 1956, Bonaparte's thirst for knowledge took him to Rome, Italy, where he furthered his studies in art, broadening his perspective and technique. In 1959, alongside a cohort of Oklahoma artists, he relocated to California, where his artistic expression flourished. Bonaparte's work, known for its vibrant landscapes and introspective still lifes, has graced galleries worldwide, from Galleria "La Vetrina" in Rome to the Fred Jones Jr. Museum of Art in Norman, Oklahoma, showcasing his international acclaim and versatility. Despite the quieter recognition compared to his contemporaries, Bonaparte's contributions to the art world are invaluable.