Oil on canvas - Sig. '50 and on the reverse 1950 with title and n°128 - 150 x 100 cm
Remarks A second version without the red shades is in the collection of the K.M.S.K. in Antwerp Exhibition "Junge Belgische Malerei" Suermondt Museum, Aachen; Amerika Haus, Stuttgart 1951, cat. nr. 32 Marburg, Frankfurt, Wiesbaden, Hamburg & Düsseldorf 1951 Literature "Louis Van Lint" Reeks Monografieën over Belgische kunst, Leon-Louis Sosset, Antwerp 1951, nr. 8 reprod. "Kunst in Belgiuë sinds 1945" Karel Geirlandt e.a., Antwerp 1983, p. 242 reprod. To be included in the forthcoming catalogue raisonné by the Louis Van Lint Institute Provenance coll. Philippe Dotremont, Brussels CHARTRES, VISION OF STAINED-GLASS WINDOW IN ARCHITECTURE (1950) At the end of the 1940s, Louis Van Lint was the first Belgian artist to investigate lyrical abstraction, which from then on will never leave his personal visual language. Unlike the playful Cobra movement or the rather cool abstraction of Gaston Bertrand at the time, Van Lint's abstraction is harmonious and warm. It is his pictorial translation of the rhythmic poetry he finds in structures derived from reality, such as architecture, biology or geology. The stained-glass windows of the Chartres cathedral must have made a peculiar impression on Van Lint. Their concatenations of geometric segments, oblong or curved, in vivid colors, come to life in daylight. They inspired him to paint two large format versions, one of which is in auction here. The other became the first purchase of a work by Van Lint by the Royal Museum of Fine Arts of Antwerp. Stained-glass windows, but also scaffolding and facades are recurring motifs in his oeuvre, indicating the artist's architectural education. The entire canvas of "Chartres" is occupied by the accumulation of colors, mostly bright reds and blues, accentuated by the cloisonné effect of the black outlines. Van Lint composes the rhythmic alteration of hues and forms into a lyrical ensemble that seems to extend far beyond the canvas. The artist's daring abstraction is completely original at the time. On the one hand it refers to the medieval horror vacui, and on the other hand it heralds the American all-over painting.
Oil on canvas - Sig. '50 and on the reverse 1950 with title and n°128 - 150 x 100 cm
Remarks A second version without the red shades is in the collection of the K.M.S.K. in Antwerp Exhibition "Junge Belgische Malerei" Suermondt Museum, Aachen; Amerika Haus, Stuttgart 1951, cat. nr. 32 Marburg, Frankfurt, Wiesbaden, Hamburg & Düsseldorf 1951 Literature "Louis Van Lint" Reeks Monografieën over Belgische kunst, Leon-Louis Sosset, Antwerp 1951, nr. 8 reprod. "Kunst in Belgiuë sinds 1945" Karel Geirlandt e.a., Antwerp 1983, p. 242 reprod. To be included in the forthcoming catalogue raisonné by the Louis Van Lint Institute Provenance coll. Philippe Dotremont, Brussels CHARTRES, VISION OF STAINED-GLASS WINDOW IN ARCHITECTURE (1950) At the end of the 1940s, Louis Van Lint was the first Belgian artist to investigate lyrical abstraction, which from then on will never leave his personal visual language. Unlike the playful Cobra movement or the rather cool abstraction of Gaston Bertrand at the time, Van Lint's abstraction is harmonious and warm. It is his pictorial translation of the rhythmic poetry he finds in structures derived from reality, such as architecture, biology or geology. The stained-glass windows of the Chartres cathedral must have made a peculiar impression on Van Lint. Their concatenations of geometric segments, oblong or curved, in vivid colors, come to life in daylight. They inspired him to paint two large format versions, one of which is in auction here. The other became the first purchase of a work by Van Lint by the Royal Museum of Fine Arts of Antwerp. Stained-glass windows, but also scaffolding and facades are recurring motifs in his oeuvre, indicating the artist's architectural education. The entire canvas of "Chartres" is occupied by the accumulation of colors, mostly bright reds and blues, accentuated by the cloisonné effect of the black outlines. Van Lint composes the rhythmic alteration of hues and forms into a lyrical ensemble that seems to extend far beyond the canvas. The artist's daring abstraction is completely original at the time. On the one hand it refers to the medieval horror vacui, and on the other hand it heralds the American all-over painting.
Testen Sie LotSearch und seine Premium-Features 7 Tage - ohne Kosten!
Lassen Sie sich automatisch über neue Objekte in kommenden Auktionen benachrichtigen.
Suchauftrag anlegen
.jpg "Quelle: Christie's")
.jpg "Quelle: Christie's")
