Other works by Lanhas from this period have titles with a musical reference, eliciting the association of shapes with sounds. They were later replaced by a combination of acronyms and numbers. For reasons we don’t know, Tambores escapes this self-imposed standardisation.
He graduated in Architecture from the University of Porto’s School of Fine Arts in 1947 and is mainly recognised for his work as a painter. During his formative years in Porto, he led the Fine Arts Student Group. Belonging to a circle of students that included Nadir Afonso, Júlio Pomar and Manuel Pereira da Silva, he soon became interested in painting.
Considered the introducer of geometric abstractionism in Portugal, in 1945 he exhibited some of the paintings he had developed in the field of Abstractionism, a trend that would mark future Independent Exhibitions.
His entire work is characterised by a stylistic unity, conferred by the recurrent use of tense, broken lines that are sometimes repeated in parallel. The support of the plane, on which warm and cold, smooth or textured patches of colour are organised, combined with lines in perspective, proves to be the most important.
The colour range used, in a range of greys and ochres, alludes to the colours of certain minerals, sometimes used as the pigment itself. The broad, almost mechanical lines structure the field of perception, delimiting areas and taking on the function of signs.
The abstract nature of his painting is further reinforced by the technical designations given to the pictures, such as “O10-50” and “O42-69”.