A classic example of Swiss Concrete Art, this geometric composition by Richard Paul Lohse uses vertical bands of colour to explore rhythm and proportion.

Richard Paul Lohse was a central figure in the development of Concrete Art in Switzerland. His work is defined by a rigorous, systematic approach to composition, where the canvas is treated as a field for mathematical organisation. In Rhythmische Teilung, Lohse explores the relationship between colour and proportion through a series of vertical bands. The painting avoids subjective expression, focusing instead on the objective arrangement of elements within a square format. The composition relies on a modular system. Lohse divides the space into segments of varying widths, creating a visual rhythm that guides the eye across the surface. The palette is restricted to high-chroma tones of orange, yellow, and white, which interact to create a sense of optical movement. By using these primary and secondary hues, Lohse emphasises the autonomy of colour as a structural component rather than a decorative one. Lohse believed that art should be based on clear, logical principles. His practice involved the creation of complex grids and sequences, which he then translated into paint. This method allowed him to remove the artist's hand from the final result, aiming for a universal visual language. The work is not intended to represent the external world, but rather to exist as a self-contained object. The precision of the edges and the flatness of the colour application are characteristic of his mature style, which he developed throughout the mid-twentieth century. This piece demonstrates his ability to balance mathematical order with a dynamic visual experience, inviting the viewer to engage with the internal logic of the painting.