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Ilya BolotowskyUntitled1980
1980
$1,200
£911.60
€1,049.70
CA$1,716.72
A$1,883.08
CHF 971.03
MX$22,491.49
NOK 12,315.64
SEK 11,553.47
DKK 7,844.37
About the Item
b. 1907, St. Petersburg, Russia – d. 1981
Bolotowsky respected the principles of the De Stijl style and was influenced by the artist, Piet Mondrian. Bolotowsky incorporated geometric forms and colors outside of the structure and colors of De Stijl to create an aesthetically independent body work based in meditative color relationships.
He was also influenced by Kazimir Malevich and was fascinated with the ideology of Neo-Plasticism. An exemplary work is Naples Yellow and Grey (1958), in which Bolotowsky delivers a nuanced work without the use of primary colors. Instead, he punctuates gradations of white, greys, and the warmth of Naples Yellow with slender rectangles of aqua blue, dusty rose, and bluish purple—all of equal intensities.
In 1936, Bolotowsky co-founded the organization, American Abstract Artists in New York City at a time when abstract art was met with strong criticism.
SELECTED PUBLIC COLLECTIONS
Art Institute of Chicago, Chicago, IL
Hirshhorn Museum and Sculpture Garden, Washington, DC
Metropolitan Museum of Art, New York, NY
Museum of Modern Art, New York, NY
Solomon R. Guggenheim Museum, New York, NY
Whitney Museum of American Art, New York, NY
- Creator:Ilya Bolotowsky (1907-1981, American, Russian)
- Creation Year:1980
- Dimensions:Height: 44 in (111.76 cm)Width: 35 in (88.9 cm)
- More Editions & Sizes:Edition of 144Price: $1,200
- Medium:
- Movement & Style:
- Period:
- Condition:
- Gallery Location:New York, NY
- Reference Number:1stDibs: LU33017044762
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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