At the beginning of the 20th century, a major shift in art began. Painting and sculpture increasingly moved away from figural to more abstract forms of representation. Art sought new pictorial formulas, and the artists of that era found diverse answers.
André Evard was particularly fascinated by well-conceived and strictly geometric pictorial compositions.
Signs of this can already be recognized in earlier works, which led to a complete detachment from the figural subject.
This concrete-constructive work by Evard particularly captivates with its rhythmic arrangement of construction lines.
With the intersecting diagonals, the pictorial space is divided like a mosaic, creating a thematically detached, yet internally coherent spatial structure of shapes and colors.
Through the hatching lines of vertical and diagonal strokes, a geometric canon of forms of variably positioned triangles is generated. This is expanded by the partial colored infill of several triangles to include new geometric form schemas.
A comparison with the works of Theo Van Doesburg (1883 – 1931) is obvious, as there was also a very personal relationship between the two artists, which is evident in documented correspondence.
Throughout his life, Van Doesburg tried in vain to persuade the Swiss artist to collaborate in the De Stijl movement, which he co-founded. However, he vehemently refused.
He never wanted to commit himself or be restricted in his art. For Evard was an artist body and soul. Therefore, throughout his life, he pursued his own artistic goals and, at times, patiently swam against the current.