During the 1950s, the square appears in Raveel's drawings and paintings, a form that will be present in most of the works from then on. The square breaks through the recognisable and functions autonomously as an outside element in the whole. At first, the square still seems to ‘dissolve’ in the organic colour scheme of the painting. Slowly, it comes to the surface and takes on a distinctly frontal and autonomous character. The square can be seen as a void, a contemplative plane, as a thing, a head. The square as the everything and the nothing at the same time. In this work, the square is held up like a plate or a leaf, shown by an anonymous character.