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Ilya BolotowskyRising Tondo, circular1981
1981
About the Item
Ilya Bolotowsky is an important and highly recognized hard edge american abstractionist. He experimented with diamond shaped canvases and circular works as well as square formats with compositions that picked up where Piet Mondrian left off. This one is very nice in that it has more appealing color palette than some of his works with the use of the light blue, yellow, red and royal blue. The piece can be removed from the frame and hang as just a circular form or stay within this shadow box that allows the circular aspect to show unhindered. This is a trending artist that is coming even more into Vogue as more collectors and buyers move to hard edge abstraction for clean, minimalist environments. Bolotowsky is one of the leaders of the movement and he is in many American museums and there is fine scholarship on the artist.
The measurement of the panel itself is 17.75 " diameter.
- Creator:Ilya Bolotowsky (1907-1981, American, Russian)
- Creation Year:1981
- Dimensions:Height: 19.75 in (50.17 cm)Width: 19.75 in (50.17 cm)Depth: 2.5 in (6.35 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:Fine condition and appropriate to age. A fine craquelure within the surface that is not problematic to the eye at all. Recently varnished and Shadow box frame is new.
- Gallery Location:Greenwich, CT
- Reference Number:1stDibs: LU1413214203842
Ilya Bolotowsky
Ilya Bolotowsky grew up in Russia and enjoyed drawing, but his family wanted him to do something “socially useful,” so he planned to be a lawyer. He changed his mind after he moved to New York, however, and enrolled at the National Academy of Design. During the 1930s, the Works Progress Administration hired him as a mural painter, and he was one of the first artists to create completely abstract designs for the project. He composed geometric images from colored rectangles and squares, inspired by his belief in “ideal harmony and order.” From the late 1940s, Bolotowsky used canvases shaped as diamonds, circles, and ovals to show how the edge of the painting could change the visual effect of the lines and angles within. (Bolotowsky, interviewed by Svendsen and Poser, Ilya Bolotowsky, 1974)
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