Drawn in 1936, the year of the establishment of the Pita Maha movement, Resting Man (Lot 7097) and Resting Woman (Lot 7098) reveal Bonnet's desire to capture and preserve the many facets of daily life in Bali. Imbuing his subjects with an air of inner contemplation and cool indifference, Bonnet positions himself as an observer of the quiet moments in daily life. The bold strokes of Resting Man suggest an underlying strength and power that recalls a romanticism of the human form tied to ancient Greek sculpture. The comparatively softer rendering of Resting Woman, combined with the inclusion of light pastel colours, is testament to Bonnet's technical understanding of the means through which to fully elevate his sitters to a desired level of classical elegance.