A foundational work of Synchromism, this abstract oil painting explores the musical potential of colour through interlocking geometric planes.

Morgan Russell, alongside Stanton Macdonald-Wright, founded the Synchromist movement in Paris during the early 20th century. This work represents the core tenets of their philosophy, which sought to replace traditional representational subject matter with the expressive potential of pure colour. Russell believed that colour possessed the same structural and rhythmic properties as music, leading to the term Synchromy, or 'colour-together'.

In this composition, the canvas is organised into a series of interlocking geometric planes. These shapes are defined by their chromatic relationships rather than by outlines or perspective. The artist employs a deliberate arrangement of warm and cool tones, creating a sense of movement and depth through the juxtaposition of hues. The application of paint is direct, with visible brushwork that adds a tactile quality to the surface. By breaking down the image into these rhythmic segments, Russell directs the viewer to experience the painting as a sequence of visual chords.

This approach reflects the influence of contemporary theories regarding the psychological impact of colour. Unlike the fragmented forms of Cubism, which often retained a link to the physical world, Synchromist works like this one prioritise the autonomy of the medium. The painting functions as a self-contained system where the interaction of red, green, blue, and violet creates a dynamic equilibrium. It is an example of the early American contribution to the development of non-objective art, demonstrating a rigorous exploration of how colour can generate form and space without relying on external references. The work remains a clear demonstration of the movement's ambition to create a visual language based on the principles of musical harmony.