From 1955, Raveel's work gradually evolved towards abstraction. He is convinced that his work has become too cerebral, too systematic, that a kind of rigidity has crept in. He wants to paint more spontaneously again. Figurative elements such as people and objects are no longer rendered so explicitly and are reduced to rudimentary forms or signs. Raveel wants to get back in touch with the organic, the natural. His painterly touch becomes more spontaneous and rough, the colourite brighter. The size of his works is also gradually increasing.

In this work, we see Zulma sitting at a window. The window has been reduced to a square and looks out on a garden in intense colours, the white around it representing the space Zulma is in. She is only a form suggesting a figure. Between her and the viewer, an indefinable plant-like form creates space and depth.