The work bears the mark of a heavy experience of chaos and torments: the young Eduardo Pisano did not like expressionism, but he became an expressionist painter, while he detached himself from his initial wonder for Velasquez in order to 'admire El Greco and Francisco Goya . His favorite subjects are bullfights , the circus , flamenco scenes and Baudelairean nudes which are reminiscences of 1931 and his life in Madrid, but also still lifes bearing the dark gravity of Raymond Guerrier , pastoral landscapes with evocations both biblical and Cantabria,Christ on the cross , Pietà and even a Stations of the Cross in fourteen paintings-stations which, exhibited in the chapel of the Jesuit college in Eu in 2015 before being fixed in the Church of the Great Virgin of Torrelavega  (es) , state the persistence of a deep religious fervor .

His years of “Dantesque hell” remain Eduardo's great wound, they haunt his dreams and he expresses it: his most historic painting, his own Guernica , entitled The Soldier's Dream , mixes fantasy and nightmare ( Eros and Thanatos ), sets out the great fear, the great privations and the proximity of death in their interminable daily experience.

Like another expressionist, the Italian Bernard Damiano , Eduardo did not date his paintings. A substantial part of the work, referring in this to the difficult post-war years, is based on the hardboard panel, “this poor material used by painters in need of canvas”. Its colors are browns, ochres, reds and yellows, large black circles defining the shapes while reaffirming a tragic vision of humanity. So, can analyze Lydia Harambourg,“Gradually integrated into the cosmopolitan society of the Montparnos, Eduardo Pisano nonetheless retains his Hispanic character. Bullfighting or flamenco scenes are painted with force, like all his themes where the man sees himself as the actor of a personal drama. The misery is hidden under the make-up and the light costumes of the clown; Pisano's "comic masks" are also reminiscent of Georges Rouault  ”.