A geometric composition by Max Bill, featuring nested squares in a diamond orientation that explore the relationship between colour and spatial order.

Max Bill was a central figure in the development of Concrete Art, a movement that prioritised the mathematical and logical construction of the image over subjective expression. In 'Strahlung zu gelb' (Radiation towards yellow), Bill employs a diamond-shaped canvas, or lozenge, to challenge traditional rectangular framing. The composition consists of nested geometric forms, where a central blue square is surrounded by concentric bands of green and yellow. Bill’s approach to colour is systematic. He treats the canvas as a field for exploring the relationships between hue, proportion, and spatial perception. By using a diamond orientation, the artist forces the viewer to engage with the work as an object in space rather than a window into a scene. The colours do not represent external objects; they exist as autonomous elements within a rigid, calculated structure. This work reflects the artist's background in architecture and industrial design, where precision and clarity are paramount. Throughout his career, Bill maintained that art should be based on universal principles. He avoided the emotional turbulence often associated with abstract expressionism, preferring instead to create works that function like visual equations. The balance between the cool blue centre and the warmer, radiating yellow edges creates a sense of equilibrium. This print captures the clean lines and flat colour application that defined his mature style. It is a study in how simple geometric shapes, when arranged with mathematical rigour, can produce a sense of order and visual harmony. The work remains a clear example of the mid-twentieth-century shift toward objective, non-representational art, where the physical properties of the medium and the geometry of the composition dictate the final result.