In the 1930s, Robert Delaunay returned to Orphism and the circular forms of the 1910s, stripped of any reference to objective reality. These works show a greater maturity and a search for pictorial harmony.

In 1934, he repeated the motif of discs intersected by an invisible axis that can be seen in Rythme, Joie de vivre (1930). The circle becomes the single module split into two – black and white and the simultaneous contrasts.