The Tonaltimbrica (1967) constitutes the first original synthesis between formal solution and content aspects, placed as a precondition in Almaviva's artistic work. It is the open denunciation of the total immersion of the existing in a dimension dominated by a primordial and inextinguishable instinct of overwhelm, with respect to which art can only remain at the state of simple observation, rejecting any metaphysical paths and justifications that could give a comforting and reassuring explanation to the existing. The formal structure of the Tonaltimbrica itself highlights the biological antagonism that pervades the natural sphere through the reduction to the extremes of its constituent components (from which the name of Tonaltimbrica derives): the "tonal" element, consisting of the coloristic base that identifies the masses of the painting, and the "timbric" element, the thin and bristly rib of pure color that structures and defines the shapeless base of the background, giving it a particular aggressive effect and external projection towards the observer.

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