The manifesto of suprematism was published in 1915;
Van Doesburg founded De Stijl in 1917.
This work, though reflecting the intense research in those years of an art totally detached from the notion of objects, differs from the postulates of the movements of the time; there is no trace of references to perspective, typical of suprematism, nor are there mathematically constructed images typical of De Stijl.
On a gray plane, counterpointed as a challenge, at the base, by a paler gray, two optically white curved lines, likewise counterpointed by two straight micro-segments of the same color, enter into a spatial relationship with a straight horizontal line of the same thickness but yellow in color. The resultant image, though remaining immobile on the plane, produces a state of suspension between the static and the dynamic of a purely mental nature.
71 squa
