This is an example of Objective Abstraction. Moynihan stated in 1934 that his painting identified itself with (and derived from) its means, rather than with a system in which the artist imposes upon the canvas a preconceived idea. 'The evolution is intimately bound up with the canvas and medium'. He later added: 'Our emphasis was on the 'painterly', on stroke and gesture having value in themselves, on looking with interest at the late Cézanne, late Monet, Turner, Chinese and Japanese calligraphy ... Contrary to Tachism and Expressionism we had a strictly limited view of colour, restraining its use because we thought it had fundamentally figurative allusions'.