At the beginning of January 2009, Rodríguez-Amat was hanging up his paintings in the foundation gallery that takes his name. The works were from different artistic periods of his life. Just when he was hanging the painting called Sea-66, dating from 1966, an idea came to his mind; to make a simple drawing of two figures by the sea. This drawing generated a series of 17 paintings, all of them with the same formal and compositional structure, but with totally different chromatic valuations.

In this painting there is a directional diagonal line that starts in the lower right corner of the canvas. This line is determined by the stretched figure and reinforced by the pole of the parasol. This line determines the dynamism of the work. The towel on the floor, structured by two lines (both sides of the towel), further strengthens this dynamism. The parasol prevents this directional element from escaping from the frame. This is the reason why our vision is concentrated on the picture. The vertical figure on the left also helps to stop the directional force of the composition.

Chromatically, the artist made use of complementary colours in this painting: red-blue-green and yellow-violet. The red colour makes both figures the most important forms in this painting. A clear cold colour has been used for the parasol in order to adding value to the two figures and to make it stand out from the dark blue that represents the sea. The stretched figure has been painted with two colours considering the two colours of the towel.

If we squint looking at the picture, we can see that the bright light is given by the yellow colour. Yellow is always related to light. For the shade of the parasol, a clear violet colour has been used. The shades are always cold and, in this case, it is complemented by the yellow colour.

In the subtractive colour theory, yellow and violet are complementary colours.

In order to reinforce the images, the white colour not only delimits them, but also gives more luminosity to the whole.