Up until 1968, Raveel lives with Zulma and father Gustaaf in a small house on Petegemstraat, where he sets up a studio in the attic. From his window he looks out over the pitch of the local football team and the houses and fields beyond. This work shows affinities with certain landscapes by Jean Brusselmans (1884–1953). After World War II, Raveel, averse to expressionism, sought to look at the world from a fresh, new perspective. He was intrigued to observe how ‘modernity’ was creeping into rural life. The painter incorporates concrete walls, concrete posts, bicycle trailers and everyday modern objects into his paintings, not to mention the football pitch. In this sense, Raveel is influenced by the work of French painter Fernand Léger (1881–1955) who also seeks to depict modern life. Modern posters and advertising images also infiltrate Raveel’s work. For instance, he refers to the red and blue in the background of Football pitch as the ‘Cinzano’ colours.