 In his final phase, from the 1960s onwards – when, coincidentally, he married his second wife, the Dutch-Indonesian Renske van Slooten, who was 29 years his junior – Mann painted the dynamic effects of light and shadow.He uses as his inspiration nudes of his young wife, as well as sunlit interiors, flowers, self-portraits and anything else at hand, such as an oil can, a stapler, and toys from his second daughter, Amanda, born in 1968.There is a sense of release as these now often large oils are painted directly and at great speed.