Adolf Fleischmann discovered his distinctive picture concept – one totally oriented towards modulated color movement – around 1950. It focuses on the intensification in paint of constructivist order. Parallel colored lines are seen to bunch together as a result of having similar color identity, forming interconnected, vibrant L-shaped surfaces. Here color and lineament appear distinct. Color values are only found in the rectangular areas, the angles on the other hand are left white. In this way the coming and going of color, i.e. its apparent spatial movement, is controlled and balanced by the size and number of color fields alone. At the same time, the relief structure of the angles presents the capacity for modulation of a single color – in this case the ‘non-color’ white.