These modernist impulses weave together in his best late works, from
the gossamer lightness of «White Abstraction» (circa 1935) to a last, grand, dense painting completed in 1941, just before a stroke ended his career at age 59.
In 1958, The New York Times wrote of their «
gossamer lightness» and the way «the circular and oval shapes seem like magic lanterns, one within the other.»