Pierre Brulle has confirmed the authenticity of this work.
In Mouvement Kupka uses brillant colors to explore artistic theories and technological innovations of the early twentieth century. The inventions of the telephone and electricity that were demonstrated in the 1900 Exposition Universel in Paris drew attention to man's new found ability to control the properties of sound and light. Popular theories of sound and light waves allowed artists to associate the visual arts with the qualities of music. Translating movement into images was a popular activity, resulting in a number of stop-action photography and early films.
The Italian futurist Fillipo Tommaso Marinetti discussed motion in his Futurist manifesto of April 1910: "Indeed all things move, all thing run, all things are rapidly changing. A profile is never motionless before our eyes, but constantly appears and disappears. On account of the persistence of an image upon the retina, moving objects constantly multiply, becoming deformed as they succeed each other, like vibrations hurled into the space they traverse" (J. Golding, Cubism: A History and an Analysis 1907-1914, Cambridge, 1988, p. 176).
Kupka explained the correlation between vision and music: "I have come to believe it is not really the object of art to reproduce the subject photographically... Music is the art of sounds that are not in nature and almost entirely created. Man created the articulation of thoughts by words. He created writings, he created the aeroplane and the locomotive. Therefore, why may he not create in painting and sculpture independently of forms and colors of the world around him?...The public certainely needs to add to the action of the optic nerve those of the olfactory, acoustic, and the sensory ones. I am still groping in the dark but I believe I can find something between sight and hearing and I can produce a fugue in colors, as Bach has done in music" (Quoted in Warschawsky, "Orphism, Latest of Painting Cults, The New York Times, 19 October 1913).