By 1922 La Fresnaye had developed a complex and mature classical style in which he combines the linear precision he and other French artists emulated in the work of Ingres, the overlay of forms derived from late Cubism, and a manneristic manipulation of the human form which he admired in the works of El Greco. In 1921 La Fresnaye painted Hommage au Greco; the exaggerated landscape shapes of that composition echo in the present work. The origin of the title is unknown, but the composition may be seen to allude to the twin brothers of classical mythology.