Throughout the 1930s, and in particular during the years 1937-39, whilst manning the l'Equipe Gallery he founded in Montparnasse, Lacasse furthered his research into light and volume. The present painting bears testimony to the artist's sensitivity to working light through a geometrical composition, a technique he had learned from Robert Delaunay.
Lacasse probably met Delaunay as early as 1919 but they became friends when Lacasse settled in Paris in 1925. With a studio and living quarters at the Impasse Ronsin, next door to Constantin Brancusi, Lacasse operated amidst the pioneers of modern art.
Lacasse also befriended Delaunay's wife Sonia and maintained a correspondence until her passing. In one such letter dating the 1950's Lacasse wrote 'I cannot find the words justifying the joy knowing that I am appreciated by the wife of the great painter whom I loved, and who understood and encouraged me.'
Until 1927, Lacasse had experimented with Fauvism, Realism, Expressionism, Cubism and Orphism. As of 1931, Lacasse gave up any form of Figuration in favour of lyrical Abstraction, and is a recognised precursor of the movement.

The works of Lacasse are included in the following museums: Musée d'art moderne de la Ville de Paris, Musée national d'art Moderne, Centre Pompidou, Paris, Musée des Beaux-Arts, Brussels, Musée de Tournai, Tournai, Tel Aviv Museum of Art, Tel Aviv, Eilat Museum, Eilat, Carnegie Institute, Pittsburgh, National Gallery of Victoria, Melbourne, Musée des Arts Décoratifs, Paris.