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A further example of this play with optical contrasts is this small, but carefully worked, study of a simple house entrance in Landsberg from 1926. Richard Müller chose this seemingly so banal and simple motif, which nevertheless offered him a maximum of surface contrasts, with an eye trained well for modern objectivity. The nearly-vertical sunlight glistens on the treads of the four steps, while the hollow space in between the boards, the sink in front of the steps, and the door itself are depicted in deep darkness. The smoothly-plastered wall of the house, with its horizontal structure, becomes a perfect surface upon which to project these contrasts. Only the forged banister and the shadows cast by a lamp outside the image bring some movement into the composition.