Max Bill (1908-1994) - "Komposition Mit Weißem Zentrum, 1972"






Ocho años valorando carteles; tasador en Balclis, Barcelona.
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Descripción del vendedor
- Screenprint / Serigraph on fine veil paper, published in 1972 in the "Look At" edition of the Galerie Thomas (Munich).
- Size: 67x68,5cm.
- Discontinued item. Closed edition, available only in the secondary market (auctions, resellers, galleries, etc.)
- Condition: excellent. Never framed, never exposed.
- Max Bill (1908–1994) was a Swiss architect, painter, sculptor, and designer, widely recognized as one of the most important figures of Concrete Art. Trained at the Bauhaus in Dessau under teachers such as Wassily Kandinsky and Paul Klee, Bill developed a rigorous visual language that combined mathematics, geometry, and aesthetic clarity. His art is characterized by precise forms, vibrant color fields, and a pursuit of harmony through proportion and balance. Beyond painting, his career extended into architecture and industrial design, where he applied the same principles of clarity and function.
Bill’s works are highly valued in the international art market, particularly his paintings, prints, and sculptures that exemplify geometric abstraction. Collectors and institutions value his contribution as a bridge between Bauhaus modernism and postwar minimal and conceptual practices.
Komposition mit weißem Zentrum (1972) is a striking example of Bill’s geometric rigor. The composition presents a square divided into colorful triangular and rectangular sections red, yellow, green, blue, and black arranged around a stark white center. The work demonstrates Bill’s interest in balance and contrast, with the white void functioning as a focal point of calm amid the dynamic interplay of colors and shapes. It embodies his idea of art as “concrete,” free from representation, existing purely as an arrangement of forms and relationships.
Some artists of similar importance, Basquiat, Picasso, Hockney, Lichtenstein, Miro, Banksy, Brainwash, Delaunay, Nara, Soulages, Lagasse, Ramos, Rothko, Lautrec, Klimt, Matisse, Hirst, Chagall, Koons, Haring, Indiana, Mondrian, Groening, Richter, Monroe, Kusama, Murakami, Testa, Villemot, Oldenburg, Hopper, Ripolles, Wesselmann, Magritte, Jenk, Orlinski, Wille, Rizzi, Manara, Thiebaud, Herrera, Laurent, Klein, Coa, Dior, Vuitton, Kaws, Valentino, Cappiello, Kandinsky, Warhol, Buffa, Tura, Castle, Ponti, Knoll, Corbusier, rober, Johns, Starck, Breuer, Nelson, Mogensen, Ponti, Bertoia, Urquiola, Chillida. Magistretti, Gauguin, Monet, Cezanne, Van Gogh, Botero, Katz, Braque, among others.
El vendedor y su historia
- Screenprint / Serigraph on fine veil paper, published in 1972 in the "Look At" edition of the Galerie Thomas (Munich).
- Size: 67x68,5cm.
- Discontinued item. Closed edition, available only in the secondary market (auctions, resellers, galleries, etc.)
- Condition: excellent. Never framed, never exposed.
- Max Bill (1908–1994) was a Swiss architect, painter, sculptor, and designer, widely recognized as one of the most important figures of Concrete Art. Trained at the Bauhaus in Dessau under teachers such as Wassily Kandinsky and Paul Klee, Bill developed a rigorous visual language that combined mathematics, geometry, and aesthetic clarity. His art is characterized by precise forms, vibrant color fields, and a pursuit of harmony through proportion and balance. Beyond painting, his career extended into architecture and industrial design, where he applied the same principles of clarity and function.
Bill’s works are highly valued in the international art market, particularly his paintings, prints, and sculptures that exemplify geometric abstraction. Collectors and institutions value his contribution as a bridge between Bauhaus modernism and postwar minimal and conceptual practices.
Komposition mit weißem Zentrum (1972) is a striking example of Bill’s geometric rigor. The composition presents a square divided into colorful triangular and rectangular sections red, yellow, green, blue, and black arranged around a stark white center. The work demonstrates Bill’s interest in balance and contrast, with the white void functioning as a focal point of calm amid the dynamic interplay of colors and shapes. It embodies his idea of art as “concrete,” free from representation, existing purely as an arrangement of forms and relationships.
Some artists of similar importance, Basquiat, Picasso, Hockney, Lichtenstein, Miro, Banksy, Brainwash, Delaunay, Nara, Soulages, Lagasse, Ramos, Rothko, Lautrec, Klimt, Matisse, Hirst, Chagall, Koons, Haring, Indiana, Mondrian, Groening, Richter, Monroe, Kusama, Murakami, Testa, Villemot, Oldenburg, Hopper, Ripolles, Wesselmann, Magritte, Jenk, Orlinski, Wille, Rizzi, Manara, Thiebaud, Herrera, Laurent, Klein, Coa, Dior, Vuitton, Kaws, Valentino, Cappiello, Kandinsky, Warhol, Buffa, Tura, Castle, Ponti, Knoll, Corbusier, rober, Johns, Starck, Breuer, Nelson, Mogensen, Ponti, Bertoia, Urquiola, Chillida. Magistretti, Gauguin, Monet, Cezanne, Van Gogh, Botero, Katz, Braque, among others.
