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Albert RadoczyAcrylic Portrait series #2 by Albert Radoczy1965
1965
$1,200
£899.18
€1,054.10
CA$1,680.59
A$1,883.66
CHF 986.12
MX$23,243.18
NOK 12,387.50
SEK 11,660.57
DKK 7,863.65
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About the Item
In this minimalist acrylic portrait, Albert Radoczy deploys an aesthetic where simplicity becomes not only elegance, but also a form of plastic manifesto. Far from demonstrative excesses, where ornamental abundance seeks to dazzle, this painting imposes itself through geometric rigor and formal reduction.
Each line and plane is distilled with almost ascetic precision, as if the essence of the female figure – here, his idealized wife and muse – could only be captured in purity.
The image is based on a triangular construction. Two red stripes, inclined towards an ascending and out-of-frame vanishing point, converge to frame a pointed white area. The organization of the face follows this logic of reduction. The eyes, stylized as green almonds, circled in black and blue, are integrated into the red shapes, accentuating the impression of a mask. The image is born from the dialogue between the colours and the rigour of the lines, as for the mouth and the nose, reduced to a simple expression.
The palette is concise: saturated red, sharp white, structuring black, punctuated by the green and intense blue of the eyes. This maximum contrast reinforces the visual impact and gives this portrait an almost totemic quality. The central white functions as an active void, a space that detaches and highlights the figurative elements. It is not a face represented but a system of signs that evokes it. The structure recalls the letter A, as if Radoczy was developing his own pictorial language, where each work would function as an ideogram. It is not a portrait in the classical sense but a visual archetype, condensed from a sublimated look and expression.
Albert Radoczy was a master at exploring the female form. Throughout his career, his drawings and paintings depicted women (especially his wife) with images ranging from realistic to whimsical, sensual to spiritual, and from ethereal to hallucinatory. Albert later opened a noteworthy design firm, Habitat Associates with Warren Nardin and later Paul Mayen. Habitat designed modern furniture, lighting, and architectural elements such as fabrics, wallpaper, and accessories. They worked directly with architects and designers and were included in “Good Living” - a series of exhibitions and publications curated by the Metropolitan Museum of Art. His solo work has also been exhibited at the Whitney Museum of American Art (Annual Exhibit 1962), the Brooklyn Museum (Print Exhibit 1962), the MoMA Lending Collection (1965), and the NJ State Museum.
- Creator:Albert Radoczy (1914 - 2008, American)
- Creation Year:1965
- Dimensions:Height: 12.5 in (31.75 cm)Width: 16.66 in (42.32 cm)Depth: 1.75 in (4.45 cm)
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:Pasadena, CA
- Reference Number:1stDibs: LU654315926442
Albert Radoczy
Albert Radoczy was a master at exploring the female form. Throughout his career, his drawings and paintings depicted women with images ranging from realistic to whimsical, sensual to spiritual, and from ethereal to hallucinatory. Albert later opened a noteworthy design firm, Habitat Associates with Warren Nardin and later Paul Mayen. Habitat designed modern furniture, lighting, and architectural elements such as fabrics, wallpaper, and accessories. They worked directly with architects and designers and were included in “Good Living” - a series of exhibitions and publications curated by the Metropolitan Museum of Art. His solo work has also been exhibited at the Whitney Museum of American Art (Annual Exhibit 1962), the Brooklyn Museum (Print Exhibit 1962), the MoMA Lending Collection (1965), and the NJ State Museum.
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