A seminal work of Synchromism, this 1914 painting by Morgan Russell explores the relationship between colour, light, and geometric form through a rhythmic, abstract composition.

Synchromy Number 4: To Form is a representative work of Synchromism, an early twentieth-century movement founded by Morgan Russell and Stanton Macdonald-Wright. The artists sought to create paintings based on the properties of colour, often drawing parallels between the arrangement of hues and musical composition. In this piece, Russell abandons representational subject matter in favour of geometric planes of colour that suggest volume and spatial depth without relying on traditional perspective.

The composition consists of angular, overlapping shapes that create a sense of rhythmic movement across the canvas. Russell employs a palette of saturated reds, yellows, greens, and deep blues, applying the paint with visible brushwork that adds texture to the flat geometric forms. By juxtaposing these colours, he aims to generate a sensation of light and form through the interaction of the hues themselves. The work reflects the artist's interest in the theories of colour science and his desire to move beyond the limitations of figurative art.

Russell spent significant time in Paris during the early 1910s, where he was exposed to the experiments of the Fauves and the Cubists. Synchromism emerged as a distinct response to these influences, prioritising the expressive potential of pure colour. In this specific work, the title To Form indicates the artist's intention to construct a sense of three-dimensional structure using only the chromatic relationships between the painted shapes. The result is a dynamic arrangement that invites the viewer to observe how individual colours advance or recede, creating a shifting visual experience that avoids static representation.