While his style varied, his work was consistently graphic, favoring primary colors, pattern, and bold form. It was the magic of light on the white metal. These paintings were the first non-representational works to emerge from Cubism and seem to burst with volume and pattern, while giving an overall impression of floating shapes on a flat surface.
His interest in subject matter and three-dimensionality again sets him apart from other Cubists. His color palette remains largely primary and he continues to show his skill in depicting movement, which is highly advanced in The Card Players as the work almost appears as a film sequence.
His fascination with all things modern beyond conventional high art subject matter is evident in the references to traffic lights, billboards, graphic design; he stated that he was especially influenced by the place Clichy in Paris with its large posters. Also obvious is a focus on other colors beyond the primary. He remarked on his use of color in this period: "Color rushes in like a torrent.
It swallows up the walls, the streets When one opens a window, a piece of shrill publicity blows in the wind Exuberance of color and noise. Oil on canvas - The Philadelphia Museum of Art - this image is only a detail of the painting.
In it he retreats from the experimentation with dissonance and collage-like space that he utilized in The City. The work is a culmination of several interests in the previous decade with its depiction of three-dimensionality, its mechanical human figures, and its primary colors.
