Michel Seuphor (pseudonym of Fernand-Louis Berckelaers) is one of the key figures from the art scene of the interbellum. This author, essayist, art historian and critic is one of the most reputable advocates of Abstract Art. He was at the inception of avant-garde groups and publications. In addition to his literary oeuvre, he builds a respectable career as an illustrative artist. Seuphor built a bridge between the generations with his multi-faceted activities and strove to keep the original meanings of abstract art alive. He begins as a radical Flemish propagandist in Antwerp, but he quickly turns into an international author. Beginning in 1922, along with Jozef Peeters he leads the avant-garde journal Het Overzicht with contributions from the European pioneers of Constructivism. After a few brief stays in Paris, Seuphor leaves his hometown definitively in 1925 in order to settle in Paris. The group Cercle et Carré, which he establishes in 1929 with the painter Joaquín Torres-Garcia (1874 – 1949), brings artists from various disciplines together in order to protect Abstract Art via a journal, manifestos and exhibitions. As such, in 1930 Seuphor organises the first exhibition that is exclusively devoted to abstract art. In a short period of time, he builds up a very extensive network from the chief players of the avant-garde: from Fernand Léger (1881 – 1955) and Jean (Hans) Arp (1886 – 1966) to Jean Cocteau (1889 – 1963) and Sonia Delaunay (1885 – 1979) and Piet Mondriaan (1872 – 1944). With the latter he is very good friends. He even writes his first monograph. After WWII, a whole series of exhaustive publications on the history of abstract art follows, which are viewed as reference works in the literature on art. They were translated numerous times and reprinted and are disseminated over the whole world. Between 1926 and 1929, Seuphor makes a number of geometrical abstract gouaches in the style of Mondriaan, though destroys most of them. Only after the 1930’s shall Seuphor devote more time to drawing. During a stay in Switzerland, his first uni-linear drawings appear. During Seuphor’s reclusive life in the Cévennes of southern France, between 1934 and 1948, his illustrative creativity is on the wane because they are overshadowed by his literary pursuits. A new impulse arises beginning in 1951 with the so-called ‘dessins à lacunes’ or ‘gap drawings’. In these pen and ink drawings horizontal straight lines dominate, which are at varying distances from each other, made with a free hand. Via interruptions in the parallel lines, blank forms appear that seem to be released from the background. They are executed in hundreds of variations. Starting in 1953, the first collage drawings appear and Seuphor begins to add colour. He creates ever larger series, followed by assemblages and ultimately applied art, with tapestries and ceramics, illustrating the evolution in which he explores the boundaries of space. Ultimately Seuphor finds a synthesis between his literary and illustrative endeavours with his ‘tableaux-poèmes’ that he shall work on until the end of his life.