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Ilya BolotowskyRed Tondo Signed Limited Edition Screen Print 19791979
1979
About the Item
Artist Name: Ilya Bolotowsky
Title: Ilya Bolotowsky Red Tondo 1979 Signed Limited Edition Silkscreen, BFK Rives Paper Rare
Year: 1979
Medium Type: Screen Print
Size-Width Size-Height: 22'' x 30''
Signed Edition Size: Signed in pencil and marked 6/225
Russian-American master artist, Ilya Bolotowsky is one of the leading exponents of the neo-plasticism movement. Neoplasticism is the belief that art should not be the reproduction of real objects, but the expression of the absolutes of life. To the artists way of thinking, the only absolutes of life were vertical and horizontal lines and the primary colors. To this end neoplasticisist only used planar elements and the colors red, yellow, and blue.
"As a neo-plasticist, I strive after an ideal of harmony. ...Neoplasticism can achieve unequaled tension, equilibrium, and harmony through the relationship of the vertical and horizontal elements."(Ilya Bolotowsky, March 15, 1969)
Bolotowsky's work is in the collections of many major modern art museums around the world.
- Creator:Ilya Bolotowsky (1907-1981, American, Russian)
- Creation Year:1979
- Dimensions:Height: 22 in (55.88 cm)Width: 30 in (76.2 cm)Depth: 1 in (2.54 cm)
- Medium:
- Period:
- Condition:
- Gallery Location:Rochester Hills, MI
- Reference Number:1stDibs: LU2335215721652
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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