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Aurélie Nemours, a student of André Lhote and Fernand Léger, developed an artistic vocabulary in the early 1950s that avoided any association with the everyday, representational world. From then on, the French artist's work was based on the horizontal and the vertical, the right angle, the line and the simple flat forms of the rectangle and the square. The 1955 painting 'Le module' is a good example of this. Like the Dutch artist Piet Mondrian before her, she excluded the diagonal as a formal element. She creates rhythm and dynamism through multiplication and serial sequence. Juxtaposed with Adelheid Horschik's abstract composition on the right, parallel developments in form and colour can be seen.