Untitled 1941

With sharp lines, this painting by Max Bill deploys a visual language of geometric shapes and a clean, minimalist aesthetic. I can imagine him, brush in hand, carefully applying each flat color to the canvas, building up the composition like a puzzle. There’s a sense of precision here, of deliberate construction, but also a playfulness in the arrangement of forms. I wonder if he worked intuitively? It’s like he’s saying, "Look at these forms, these colors, and see what they can do together." The triangles pointing in and the contrast of black and white create a real sense of dynamism. Bill has an architect's eye for structure and a graphic designer's knack for visual impact. It reminds me a bit of Mondrian, but with a Swiss twist. Ultimately, it's like Bill’s inviting us to engage with the pure joy of seeing and feeling. His paintings are not just things to look at, they are thought experiments in color and form, each inspiring the next.