Provenance: Purchased approx. 1950 by the present owner's father at a gallery in Copenhagen. Has been in the family ever since. Has not previously been exhibited.

In 2022 the painting has been shown to Museum Jorn in Silkeborg and is registered in the Museum's Archives under No. 32a.

One of the fundamental elements in Asger Jorn's consolidation of his own personal artistic expression is the move away from the demand for visual discipline which was the focus of Fernand Léger's art school. Instead of aiming for an inner harmony in the surface of the image, Jorn strives to a greater extent to let the compositional elements grow out of each other. In the beginning of the 1940s, he stayed at Refsnæs, where he systematically experimented with layering different drawings done on transparent paper on top of each other. The goal is, in a bigger picture, a “Luck and Chance” strategy, to use an expression from the book publication that will later follow. It is about seeing and experiencing how the forms impregnate each other and, in a broader sense, to establish what he himself refers to as a kind of ABC for his artistic practice. The present work is an excellent example of how loose visual elements are transformed into figures that emerge in almost cacophonous diversity. The image is further enriched by the dynamics between the three primary colours yellow, red and blue, which interact and mix in shades of green, purple and orange. The life that is hatched in this way heralds the main painterly path that becomes characteristic of Jorn's work - to portray a living universe of abstract and figurative elements. In a broader sense, Jorn's work consists of capturing the pulsating dynamics of materiality and, at a greater or lesser level of abstraction, releasing the inherent energy of the individual work. Even though we are still in the war years, several of the works from this period stand out as life-affirming manifestations of positive human relationships and the belief in a better and more humane future.