Silkscreen on paper measuring 18 7/8 by 33 1/8 inches. Printed in red, green. mauve and black, with text in white. Here, the text of Sophia de Mello Breyner's collectivist paean appears against Escada's abstract figures, which depict the working men who toil to provide the bread and wine at the metaphoric center of the poem. Escada's inscription appears along the left margin to "Maria Louisa," whose name also appears in his hand on the verso. The artist, perhaps channeling the spirit of the Carnation Revolution of 1974, which overthrew forty years of fascist dictatorship, closes his inscription with "VIVA POESIA!" This collaboration between Escada and de Mello Breyner epitomizes their respective contributions to shifting Portugal's cultural mindset away from the Estado Novo as defined under Salazar. Escada's figurative abstraction - which evolved during his years of "exile" in Paris between 1961 and 1971 - led to representations of "the afflicted, oppressed, and finally liberated body" - an artistic vision that would have been impossible in the preceding four decades. Widely regarded as one of Portugal's most important poets of the 20th century, de Mello Breyner used her position of influence to vocally oppose the ruling regime through her writing and activism. Following the Revolution, she served a deputy in the Assembleia Constituinte which drafted the current Portuguese Constitution. Paper shows shallow creasing and wrinkling; pinholes at corners. Overall, a very good example of an exceedingly rare protest poster of which we can find no other examples in any institutional holding, nor in any archived visual record.