A geometric abstraction by Max Bill, exploring the relationship between mathematical form and colour through a precise arrangement of triangles within a square.

Max Bill, a central figure in the development of Concrete Art, produced this work as part of his ongoing investigation into the relationship between mathematical precision and visual form. The title, translating to 'Pythagorean triangle in a square II', indicates the artist's reliance on geometric logic to dictate the composition. Rather than representing external reality, the work focuses on the internal logic of the plane, using the square as a container for triangular divisions. The composition is defined by a large, stark white triangle that dominates the centre of the frame. This central void acts as a negative space, forcing the viewer to engage with the surrounding coloured segments. Bill employs a specific palette of blue, green, red, and ochre, which are arranged to create a sense of balance and rhythmic progression. The edges of the shapes meet with absolute clarity, a hallmark of Bill's approach to painting, where the hand of the artist is suppressed in favour of objective, calculated execution. Bill was a student at the Bauhaus, and his work reflects the school's emphasis on the union of art and rational design. He rejected the notion that art should express personal emotion, preferring instead to create objects that possess their own reality. In this piece, the interaction between the white triangle and the surrounding coloured polygons creates a tension that is entirely self-contained. The work does not rely on perspective or depth, but rather on the flat, two-dimensional arrangement of colour and form. By applying mathematical principles to the canvas, Bill invites the viewer to appreciate the inherent order and harmony found within geometric structures. This print captures the exactitude of the original, maintaining the flat application of colour and the sharp boundaries that define Bill's contribution to twentieth-century abstraction.