During and immediately after World War II, artists of the Río de la Plata area—Argentina and Uruguay—were among the first to work with radically simplified forms and systematic strategies in an effort to define a pictorial truth freed from metaphor. Raúl Lozza was prominent among them. An intellectual and a theorist as well as a painter, Lozza began to create geometric reliefs such as Untitled in 1939. In 1945 he became part of the famed "Asociación Arte Concreto Invención" group, which included many of the most important artists of the region. In 1947, Lozza broke with "Arte Concreto Invención" and, with his brother Rembrandt Van Dyke Lozza, and the critic Abraham Haber, formed "Perceptismo." The group's ideology was based on Raúl Lozza's ideas. Despite its small size, "Perceptismo" was a viable cultural entity, with a journal and exhibitions to its credit. This work is an excellent example of Lozza's multiplanar paintings that are meant to be perceived as objects as opposed to images. It was the artist's gift to Haber on the occasion of Haber's marriage. Ilona Katzew, 2009