Jean Fautrier’s painting Sunset in Alabama (1957) exemplifies European postwar abstraction and art informel. Rejecting the traditional painterly process, Fautrier combined various techniques such as scumbling (scrubbing the paint onto the canvas) and haute pâte (high paste) to create his tableaux à quatre côtés (pictures with four sides). For Sunset in Alabama, he applied white paint as a thick paste (impasto) onto the paper, pressed it with a painting knife, and shaped it into a roughly rectangular field. Then, over the cracked and grooved impasto, he scattered powdery blue and pink-red paint to create six broad stripes. By forming the raw surface and adding the blue and red pigments on the rectangular field with hasty brushstrokes, Fautrier rejected a purely geometrical composition. As a result, this painting is highly suggestive, inviting the viewer to distinguish in its horizontal composition a landscape with a blue sky and an intensely shining sunset on a bright sea or grassland. Although the work’s title suggests a landscape in the southeastern United States, its compact impasto and rough, random shapes, remain self-referential and therefore nonrepresentational.