There is a good reason why Adolf Richard Fleischmann is considered a pioneer of Op Art. The visual experience of his pictures indeed calls reminiscence of the flickering and moving optical effects of works by Victor Vasarely, Bridget Riley and others. Despite Mondrian and Delaunay as sources of inspiration, this form of art was at its very beginning when Fleischmann developed his dynamic principle from parallelinglines in the early 1950s. The angularly arranged fields, the so-called "équerres“, are not just vibrant color fields, they also stimulate the observer's spatial perception. Accordingly, this 'Composition #149' with its constellation of angular and circular forms and the colorful basic elements has a surprising energetic two-dimensional overall effect. Contrary to the strictly geometric Op Art, the colors have a high level of freedom in this work. They are not confined by formal standards, but, in a sense of organic construction, move freely across the linear structures and make the artist's brushstroke perceptible (quote after Carlo Belloli in: Adolf Richard Fleischmann, ex. cat. Square Gallery, Milan 1970). [BF]