ɪnðə sˈɛkənd ɑːktˈoʊbɚ sɐlˈɑːn ɪn nˈaɪntiːnhˈʌndɹɪd fˈoːɹɾi nˈaɪn mˈoːɹə wʌz ɐmˌʌŋ fˈoːɹ pˈeɪntɚz sᵻlˈɛktᵻd fɔːɹ kˈɑːmɛnt baɪ ðə kɹˈɪɾɪk jˈuːɡeɪni dˈɔːɹz: ðə kˌɑːmpəzˈɪʃən baɪ dʒˈæsɪnt mˈoːɹə ɪz pɪɹˈæmɪdəl lˈaɪk ðoʊz ʌv ˈændɹiə dˈɛl sˈɑːɹɾoʊ, hˌuː wʌz kˈɔːld, bɪkˈʌz ʌvðə pɹɪsˈɪʒən ʌv hɪz dʒiˈɑːmətɹi, ˈændɹiə sˈɛnzə ɛɹˈɔːɹi.
In the Second October Salon in 1949 Morera was among four painters selected for comment by the critic Eugénie d'Ors: 'The Composition by Jacint Morera is pyramidal like those of Andrea del Sarto, who was called, because of the precision of his geometry, Andrea senza errori.