It is easy to assume that the darker tones used by Khalil Ibrahim in his Vivacity Series suggest the dimming light of dusk in large square format. It follows his trademark theme of fishermen (sometimes women, as in the Canangsari Series) on the beach. With the shadowy standing figures busy sorting out the nets as well as fishes caught for the day, the visual rapture is the colour contrast and accentuation of forms. The spectral blue allows for a play of light. The main figure is a seated lithe form at the bottom diagonal, presumably female, though feminine forms are discernible among the standing figures. It's a sinuous visual delight capturing the understated rhythms of movement. It is a unique and rare masterpiece of absolute quality. Khalil Ibrahim is a consummate virtuoso in paint. The faith of the Pahang State scholarship for him to study Art (National Diploma of Design in Fine Arts) at St. Martin's School of Art in London is not misplaced. Yet he was not bound by any contractual stipulation and became a fulltime artist on his return in September 1966. Acrylic, oil, watercolours, pastel, batik and ink on paper from his reams of copious sketches with his Montel pen. His left hand never stopped painting until a stroke in 2012. He celebrated 50 years of painting in the exhibition, A Continued Dialogue, at Galeri Petronas, Kuala Lumpur, in 2004. He was a co-founder of the Malaysian Watercolour Society, and had served as a vice-president.