A geometric composition by Max Bill, exploring mathematical ratios through a precise arrangement of coloured squares and voids.

Max Bill, a central figure in the development of Concrete Art, created this work as an exploration of mathematical relationships translated into visual form. The title refers to the 3-4-5 triangle, a fundamental geometric principle that Bill uses to dictate the arrangement of squares and colours within the composition. By applying these numerical ratios, he removes subjective expression, allowing the logic of the system to determine the final appearance of the piece. The composition is built upon a grid, where smaller squares of varying colours form borders around larger white voids. A central diamond shape, tilted at an angle, provides a dynamic contrast to the horizontal and vertical orientation of the surrounding elements. The palette consists of primary and secondary colours, which are distributed according to the underlying mathematical structure. This approach reflects Bill's belief that art should be an object of intellectual clarity, free from symbolic meaning or emotional narrative. Bill was a student at the Bauhaus in Dessau, and his work maintains the school's focus on the synthesis of art, technology, and rational design. He viewed the artist as a constructor, someone who organises space and colour according to objective laws. This print captures the precision of his original oil painting, maintaining the sharp edges and flat colour fields that define his practice. The work functions as a visual demonstration of order, where the viewer is invited to observe the relationships between the parts rather than search for hidden metaphors. It is a clear example of the mid-twentieth-century movement towards non-representational art that prioritises structure and the physical properties of the medium over traditional depiction.