[1][2][3] This work of Yannis Moralis brings together a number of key features that seem of interest and concern to the artist since the early 1950s.

The subject of the composition is a farewell scene with clear references to thematic and component level to the ancient columns as he acknowledges: "The first to have correlated these works with ancient monuments and the tombstone was Manolis Hatzidakis, Angelos Prokopios, Elias Petropoulos, George Savvides.

Even Xenagontas' students of the Athens School of Fine Arts, in the course of their visit to the National Gallery rooms in 1988, will stop in front of the particular project and referring to it will say: "Here the common denominator is the background color, preparation (ocher, black).

"[4] The painting composition Funeral Composition is also of interest in connection with the participation of the artist in two reports important for his resume: his participation, along with Yannis Tsarouhis and Anthony Soho in 1958 at the Venice Biennale, where of course, Commissioner of Tonis Spiteris, representing Greece, and organize the first solo exhibition the artist held in Athens, showroom Armos particular, the next years.

In an international environment where most dominating remove, anthropocentric painting of Moralis and Tsarouhis initiate the interest of Gio Ponti, who will devote their magazine Domus "three pages, with plenty of pictures and text very laudatory",[5] which of course will delight both dialectical artists, considering how hard it was for a Greek painter distract abroad.

[...] And feel passionate bliss to enjoy with animal joy the opportunity to represent this form in all activities and on the physiognomy display fleeting expressions and to distinguish the characteristics of a precise contours [...] to depict seeing in this image, in this profile an extreme limit of humanity expression, human history but also the history of our time described simultaneously.