A seminal work of Synchromism, this abstract composition uses a four-panel grid to explore the relationship between colour, form, and musical rhythm.

Morgan Russell, alongside Stanton Macdonald-Wright, developed the movement known as Synchromism in Paris during the early twentieth century. This approach to painting prioritised the use of colour as the primary vehicle for form and space, rather than relying on traditional perspective or representational subject matter. The artists drew inspiration from the theories of colour harmony, aiming to create visual experiences analogous to musical compositions.

Four Part Synchromy, Number 7 is a characteristic example of this methodology. The canvas is divided into four distinct quadrants, each containing a series of overlapping geometric shapes and planes. These forms are rendered in a spectrum of hues, including deep blues, ochres, reds, and greens. The application of paint is deliberate, with visible brushwork that gives the surface a tactile quality. By arranging these chromatic blocks, Russell constructs a sense of rhythm and movement across the surface of the work. The composition avoids a single point of focus, instead encouraging the viewer to scan the entire area as the colours interact and shift in perceived depth.

This work reflects the broader interest among early modernists in the relationship between visual art and music. By stripping away narrative elements, Russell sought to engage the viewer through the direct psychological impact of colour relationships. The grid-like structure of the four panels provides a framework for the otherwise fluid and non-representational arrangement of shapes. It remains a significant example of American abstraction from the pre-war period, demonstrating the rigorous experimentation that defined the Synchromist aesthetic.