mˈoːɹəz wˈɜːk fˈɔːlz ˌɪntʊ dɪstˈɪŋkt pˈiəɹɪədz mˈɑːɹk mˈɑːlɪnz, dʒˈæsɪnt mˈoːɹə jˈuːnɚ ɹˌɛtɹoʊspˈɛktɪvə, nˈaɪntiːnhˈʌndɹɪd ˈeɪɾi fˈoːɹ: ðə fˈɜːst kənstɹˈʌktɪvˌɪst pˈiəɹɪəd nˈaɪntiːnhˈʌndɹɪd θˈɜːɾi fˈaɪv dˈæʃ nˈaɪntiːnhˈʌndɹɪd fˈɪfti θɹˈiː; ðə kˈʌlɚɹˌɪst pˈiəɹɪəd nˈaɪntiːnhˈʌndɹɪd sˈɪksti θɹˈiː dˈæʃ nˈaɪntiːnhˈʌndɹɪd sˈɛvənti; ænd ðə sˈɛkənd kənstɹˈʌktɪvˌɪst pˈiəɹɪəd nˈaɪntiːnhˈʌndɹɪd sˈɛvənti fˈaɪv dˈæʃ nˈaɪntiːnhˈʌndɹɪd ˈeɪɾi sˈɛvən.
Morera's work falls into distinct periods (Marc Molins, Jacint Morera Una Retrospectiva, 1984): the first constructivist period 1935-1953; the colourist period 1963-1970; and the second constructivist period 1975-1987.