The square appears in Raveel’s drawings and paintings throughout the 1950s, and it is a form that will be present in most of his works from then on. The square breaks through the recognisable and functions autonomously within the whole, like an external element. Around 1955, Raveel felt the need to connect more closely with nature, the vegetative, the organic. The figurative motifs previously present in his works give way to more spontaneous brushwork. At first, the square still seems to ‘dissolve’ into the organic colour tones of the painting. However, it gradually rises more to the surface and takes on a distinctly direct and autonomous character. The square can be seen as a void, a contemplative plane, as a thing, a head. The square as everything and nothing at the same time.