were bottles of the strangest shapes filled with liqueur. He enjoyed himself playing the part of an alchemist; he would try to discover the most explosive effects in beverages that he concocted with a blend of alcohol and essences. "One night I mixed Kalisay with grappa, and no one died as a result", Raúl Lozza would recall. 
Some time later, he hung a metallic pigeon very near the little drinks cabinet and above the main table: "The pigeon was flung at me by Apollinaire from his dwelling place", he said. 
Using the same dye with which he had tinted the library shelves, Raúl wrote on the wall, between the crannies in the bookshelves, a few stanzas that the poet dedicated to this bird which, in fact, was a reproduction of Picasso’s pigeons: 

Gentle bird of a vast flight
Bird which nests in mid air
There where my memory is asleep already.

Another poem:

One day
One day I called myself
So that you know yourself
Since you know everyone else.

Then he included a quotation from James Joyce’s "Ulysses":

This thing is itself and no other.

Finally, he scribbled parts of a verse from Vicente Huidobro, his favorite poet: 

Silence the Earth is about to give birth to a tree.

Emilio Pettoruti, Ulises Petit de Murat, Lucio Fontana, Jorge Romero Brest, as well as the atonalist and dodecaphonic musician Juan Carlos Paz, disciple of Arnold Schonberg, among others, were regular visitors to that study. Raúl Lozza fully agreed with Juan Carlos Paz on the discussion related to the need to radically change the outdated systems in the arts. 
As a result of his friendship with Pettoruti, heated arguments about art and society arouse. During that period, Raúl Lozza illustrated books by Baldomero Fernández Moreno, Pablo Palant, and by his friends Héctor René Lafleur and Juan Ferreira Basso. He met and developed a relationship with the writer Ramón Gómez de la Serna, whose modernist portrait he drew. 
On September 28th, 1943, his mother, Emma Righeti, passed away.
His house in Cangallo Street would become the epicenter of the momentous debates about art in the decade of the Forties