The artistic canons that Gradowczyk refers to were propagated by the official Argentine art institutions, who favored visual representations associated with national icons. Painters like Carlos Ripamonte, Cesáreo Quirós, and Fernando Fader extolled images of pampas landscapes and rural gaucho culture. The arrival of Spanish intellectuals such as José Ortega y Gasset and Eugenio D’Ors created a new discourse around art that was disseminated among writers and artists working toward an aesthetic modernity. Entierros firmly places Xul Solar as a member of this modernist Argentine movement. Rather than painting subjects recognizable as Argentine, Xul's focus is internal, painting from his own imagination. His early artistic output seems to represent the profusion of ideas and themes that grew out of Xul's contemplations. The flat shapes and bold colors used in the painting demonstrate a Cubist influence. The faces of the figures, particularly the eyes and shapes of heads can be seen as owing to the fashion for art and artifacts from Africa and the Americas mentioned above.