The former senior curator of the Zimmerli Museum Art Museum of Rutger Jeffrey Wechsler said while discussing this work. "One (style) featured hard
edge shapes and flatly painted surfaces,
in which the areas, generally small
in number and in color or black and
white, were positioned to create subtle
compositional interactions: such works
can be found within the art of Ellsworth
Kelly, John
McLaughlin,
Lorser
Feitelson, and Myron Stout. Zutrau’s
art of the 1950s echoed this carefully
composed geometric style. The other
style was more directly derived from
Abstract Expressionism, using a rather
painterly technique, in which the color
shapes had ragged or indistinct borders,
and were dispersed in arrangements
that were occasionally simple, such as in Ray Parker’s work, but more often of greater
complexity than the style mentioned above,
frequently with many scattered and abutting
forms: within this category can be placed
Esteban Vicente and Giorgio Cavallon, and
many others. In terms of Zutrau’s pictorial
development, an untitled painting of 1957
(fig. 2) offers a convenient indication of the
artist’s transition between the two modes.
Significantly, both of the styles loosely
defined here had a common element: subtlety
in composition or color. (LG Zutrau catalogue)