Provenance: Sotheby's, 6 December 2007, Amsterdam, lot. no. 89. Acquired here by the present owner. Provenance: Private Collection, The Netherlands. Both the title and the motif in Corneille's work appear as a direct tribute to bebop jazz, which with its rhythmic-spontaneous starting point can in many ways be read as a musical equivalent to CoBrA. In The New Yorker, the critic Richard Brody singles out bebop as the harmonic, rhythmic complexification of jazz, which is based on more chords than those that are traditionally part of the foundation in jazz. In a broader sense, bebop marks a shift away from big band setups to smaller orchestral groups that place greater emphasis on the music being played and the improvisations by the individual soloists. In an aesthetic sense, Brody defines this transformation as a phase in which the individual soloist's actions and (self) awareness can be defined as artistic modernism: A musical representation of the period's idealistic longing, the anguish, conflicting emotions and impulses that the post-war social constitution and awakening heralds. The work's subtitle is a direct tribute to alto saxophonist Charlie Parker (1920–1955), who in the late 1940s and early 1950s, like the CoBrA artists, truly arrives on the avant-garde scene. The spontaneous-abstract similarities between bebop jazz and Corneille's method stands out in this way as an exquisite example of the fruitful interaction between art forms.