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Ben NicholsonGeometric Shapes
About the Item
The idea of Ben Nicholson and his circle was to apply constructivist principles to public and private art. Especially, they were against ornaments and advocated for clean lines. Artworks were created with mathematical precision.
“Geometric shapes” consist of rectangular and circular forms. The colors are a bit mutted, used to divide the pieces. The largest number of fugures crossings is in the center of the painting. Therefore, the main and the first spectators’ focus is on the content of the orange rectangle. Also, Ben Nicholson conveys multiple layering with only color transformations without pointing on the volume of objects. He analyzes the overlappings of semi-transparent tints.
The artworks by Ben Nicholson are, probably, a kind of a forerunner of modern architecture. He places geometric forms in dynamic relation and influence viewers’ perception.
- Creator:Ben Nicholson (1894 - 1982, British)
- Dimensions:Height: 11.23 in (28.5 cm)Width: 8.67 in (22 cm)
- More Editions & Sizes:uniquePrice: $8,000
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Jerusalem, IL
- Reference Number:1stDibs: LU1809211743062
Ben Nicholson
Ben Nicholson, one of Britain’s most influential modernist painters, was the son of renowned artist William Nicholson. His early career was shaped by extensive travels during the 1920s with his first wife, Winifred Roberts, living between Cumberland, London, Paris, and Switzerland. Initially experimenting with a post-Cézanne style, Nicholson later embraced a more consciously "primitive" approach to landscape painting in 1927, influenced by his encounter with the work of Alfred Wallis. Between 1931 and 1939, while living in London, Nicholson became closely associated with leading artists and critics such as Henry Moore, John Piper, Naum Gabo, and Herbert Read. Encounters with European modernists, including Hans Arp, Constantin Brâncuși, Piet Mondrian, and Jean Hélion, profoundly shaped his artistic direction. By the late 1930s, he had developed the highly abstract style for which he is best known.
In 1931, Nicholson met sculptor Barbara Hepworth, who would become his second wife. During World War II, they relocated to St Ives with Gabo and Adrian Stokes, contributing to the town’s emergence as a centre for modernist art. By the 1950s and 1960s, Nicholson had gained an international reputation, his work celebrated for its purity of form and pioneering abstraction.
Following the war, he lived in London, Cambridge, and Switzerland at various times. In later years, he married for a third time, to photographer Felicitas Vogler, continuing to refine his artistic vision until his death in 1982.
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