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the rest of the compositions. I have mentioned these artists, in particular, because in each of their works are things that bear certain similarities to Holty's own paintings. 
By the early 1950s, as he explored several stylistic innovations, Holty was moving toward a more fluid style and thinking intensely about what Henry James characterized as, "the beautiful difficulties". One such method involved Holty turning his preparatory drawings upside down to execute other drawings on top of them. with this method, Holty was able to find novel shapes and he supported them with other combinations of form from his memory and imagination. 
Holty translated these shapes into oils during the first two or three years of the 1950s, with rectangular spots of color somewhat similar to the tesserae in mosaics, which had interested Holty for some time. The colors were painted in fairly uniform values, and when Holty found a particular section too dense or monotonous, he painted spots of white color right into it. Related to his drawings, was the way Holty sometime painted tracks of color across his shapes thus opening up the surface and creating an entirely new set of rhytmns. While this aspect of modern painting has often been seen as the destruction of an artists initial concept, Holty felt it was more accurately a rearrangement and by no means a complete denial of the artists first concept. 
Holty observed the figures in some ancient mosaics seem to emerge from the surface like ghosts. In a similar manner, he wanted his objects to emanate from his surfaces, rather than be set into it. Accordingly, Holty gradually extended his planes enlargeing the color spots, until he finally