At the end of the fifties and in the early sixties, MurtiŠ's painting saw important changes, particularly in the period between 1957 and 1962, when there were powerful signs of the poetics of Tachism and Art Informel. In general, these works can be grouped into two great groups, those with a dark and those with a light ground. While the works on a dark base on the whole demonstrate a more enclosed model of Tachism, almost monochrome, with frequent interchanges of black and Uan Dyke brown, or cobalt blue and sepia, the charm of which is in the interesting combination of composed form and surface segments that spatter into blotches and drops, in the paintings'with a light ground there is a usually geometrical, slow, rhythmical movement of the dark or darkened mass upon it. We will notice that there is more and more impasto on the surface, that pictorial reliefs are coming into being, and this is the reason that the need for movement - so vivid in the Tachist paintings - is considerably slowed down. Instead of this, the importance of figures can be made out in the contours of the dark nucleus on the light ground. This is always a reÓsoned and constructive outline, and the drama of material, with the flickering or sparkling of luminous particles of pulp, takes place within the limits of the non-associative figures. This was the moment at which MurtiŠ looked into the microstructures of our world, into what, and how (inaccessible to the eye of the profane), we ourselves are composed of, as is the life around us, and how we are. Intuition and anticipation were the motors that allowed him to extricate himself from the generalised phraseology of Tachism and became a quite out of the ordinary and very specific artistic figure, not taking his life from the language of the moment that, for a while, had pushed all others into the background, but from his own idioleci; his parole, within the general language.