In an windowless interior with a checkered tile floor and unfurnished except for a spare little table, all is red, all is concentrated on four nude figures: the red men. From 1929-30 on, the artist has been working on this cycle, which still continues in his latest compositions, in which he chooses to represent figures on the borderline between contemporary reality and myth, with a deliberately antinaturalistic color. This position, which was not favorably received by critics of the period, in the 1930s pitted Sassu against the dominant dark palettes of the Novecento Italiano. Although by now distant from Futurism, the artist continued to pursue in this way its fundamental attempt at modernization.