Early on, Malevich worked in a variety of styles, quickly assimilating the movements of Impressionism, Symbolism and Fauvism, and after visiting Paris in 1912, Cubism. Gradually simplifying his style, he developed an approach with key works consisting of pure geometric forms and their relationships to one another, set against minimal grounds. His "Black Square" (1915), a black square on white, represented the most radically abstract painting known to have been created so far and drew "an uncrossable line (…) between old art and new art"; "Suprematist Composition: White on White" (1918), a barely differentiated off-white square superimposed on an off-white ground, would take his ideal of pure abstraction to its logical conclusion. In addition to his paintings, Malevich laid down his theories in writing, such as "From Cubism and Futurism to Suprematism" (1915) and "The Non-Objective World: The Manifesto of Suprematism" (1926).