New uses of time, space and other narrative sequences can be found in Police Chronicle (1967). This is a new take on the primitives’ episodic narrative, which Renaissance artists solved by condensing a significant theme in a unitary composition. Police Chronicle originated in the journalistic reproduction of a teleprinted photograph, and the artist freely took advantage of the imperfections of the print. The act of an escape – the horror unseen by the viewer – is represented by the sharp diagonal of the body whose dynamism is rendered more intense by the displaced plane. He emphasizes the effect by highlighting the borders, with a semi-plane that links the three areas that make up the composition.

As opposed to the detailed relief of the protagonist, the group on the left is treated synthetically: mere choriphei done in tonal contrasts.

The absurd registers everyday details that emphasise panic: a barefoot foot sinking in the water while the other, shod and wearing striped socks, adds a touch of horror to the scene.