The reference to an important and delicate moment in Mondrian's research towards 1917 is clear. The brown and black squares of different sizes are arranged according to a scheme which is still substantially perspective, but the difference of size, also by reason of a slight variation of color, does not correspond to different distance. The two marginal straight lines define a deliberately imprecise plane, which gives the squares a certain possibility of suspension and fluctuation in space. The purpose is to verify that perception does not occur either on a material surface or on a geometrical plane but depends on the forms and the colors themselves and not on their projection in a preconstituted space.
70 squa
