MAX BILL (Winterthur 1908–1994 Berlin) komplementarit?t und verdichtung. 1966/71. Oil on canvas. Signed and dated on the reverse: bill 1966-71, as well as signed, dated, titled, with measurements and directional arrow on the stretcher: max bill komplementarit?t und verdichtung 1966-71 Diagonal 57 cm oben haut top. 57 × 57 cm. Provenance: - Marlborough Gallery, Zurich. - Purchased from the above by the present owner, since then private collection Switzerland. "I am of the opinion that it is possible to develop an art largely on the basis of mathematical thinking." – Max Bill The Swiss painter, sculptor, designer and architect Max Bill was the co-founder of the Concrete Art movement and is regarded today as one of its most important exponents. For Max Bill, from 1936 onwards his paintings and sculptures were concrete, not abstract, as they were not abstractions but statements. By adopting a mathematical way of thinking in art, he focused rather on the shaping of rhythms, relationships and laws, as they exist in the individual thinking of pioneering mathematicians. In this way, for the artist striving for unity, invisible, abstract thinking becomes concrete, vivid and also perceptible to the senses. The present work reveals itself to the viewer in an intense palette of colours. Bill chooses the shape of the upside-down square for his composition in the usual manner. As the title already indicates, he uses the complementary contrast of orange and blue as well as red and turquoise, applying Ittens colour wheel. Concepts such as**and equality as well as social problems and themes recur in Bills ?uvre. The artist confronts these abstract problems in his Concrete Art by solving them pictorially and creatively: his works represent the arrangement of equal surfaces and colour components this is also the case with the present work, in which the geometry arises from an inner organisation and analysis. Complete and self-contained, Bills work represents his successfully calculated use of measurement and laws, using colour, light, surfaces and lines. MAX BILL (Winterthur 1908–1994 Berlin) Komplementarit?t und Verdichtung. 1966/71. ?l auf Leinwand. Verso signiert und datiert: bill 1966-71, zudem auf dem Keilrahmen nochmals signiert, datiert, betitelt, mit Massangaben sowie Richtungspfeil: max bill komplementarit?t und verdichtung 1966-71 Diagonal 57 cm oben haut top. 57 × 57 cm. Provenienz: - Marlborough Gallery, Zürich. - Bei obiger Galerie vom heutigen Besitzer erworben, seitdem Privatsammlung Schweiz. "I am of the opinion that it is possible to develop an art largely on the basis of mathematical thinking." – Max Bill Der Schweizer Maler, Plastiker, Designer und Architekt Max Bill ist Mitbegründer der Kunstrichtung der Konkreten Kunst und gilt heute als einer ihrer wichtigsten Vertreter. Für Bill sind seine Bilder und Plastiken seit 1936 konkret, nicht abstrakt, da es sich nicht um Abstrahierungen, sondern um Setzungen handelt. Unter Berücksichtigung einer mathematischen Denkweise kommt bei ihm vielmehr**Gestaltung von Rhythmen, Beziehungen und Gesetzen, so wie es sie im individuellen Denken bahnbrechender Mathematiker gibt, zum Zug. Zu einer Einheit strebend, wird für den Künstler auf diese Weise unsichtbares, abstraktes Denken konkret, anschaulich und auch empfindungsm?ssig wahrnehmbar. In einer intensiven Farbpalette offenbart sich das vorliegende Werk dem Betrachter. Bill w?hlt für seine Komposition in üblicher Manier**Form des kopfstehenden Quadrates. Wie der Titel schon preisgibt, bedient er sich dem Komplement?rkontrast von Orange und Blau sowie Rot und Türkis unter Anwendung des Farbkreises nach Itten. Begriffe wie Freiheit und Gleichheit sowie gesellschaftliche Probleme und Thematiken finden in Bills Oeuvre wiederkehrend ihren Raum. So stellt der Künstler diesen abstrakten Problemen seine Konkrete Kunst gegenüber, indem er sie bildlich und gestalterisch l?st: seine Werke stellen**Anordnung gleicher Fl?chen- und Farbanteile dar so auch bei der vorliegenden Arbeit, deren Geometrie einer inneren Organisation und Analyse entspringt. In sich vollst?ndig und abgeschlossen, zeigt Bills Werk einen gelungenen, kalkulierten Einsatz von Mass und Gesetz unter der Verwendung von Farbe, Licht, Fl?chen und Linien.
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