 He abandoned the Crucifixion theme, then largely withdrew from painting in frustration, instead immersing himself in love affairs, drinking and gambling.When he returned to the topic of the Crucifixion eleven years later, he retained some of the stylistic elements he had developed earlier, such as the elongated and dislocated organic forms that he now based on "Oresteia".He continued to incorporate the spatial device he was to use many times throughout his career—three lines radiating from this central figure, which was first seen in "Crucifixion, 1933".