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Original artwork by Patrick Schmidt a Mythic Gallery represented artist. Piece titled, Theme and Variation II.

Original artwork by Patrick Schmidt a Mythic Gallery represented artist. Piece titled, Theme and Variation II.

Theme and Variation II

Artist: Patrick Schmidt
Acrylic on paper
30’’ x 22'’

Inquire here:
mythicgallery.com/artists/patr...

#OwnTheLegend #MythicGallery #OriginalArt #GeometricAbstraction #HardEdgeAbstraction

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Original artwork by Patrick Schmidt, a Mythic Gallery represented artist. Piece titled, Theme and Variation 1.

Original artwork by Patrick Schmidt, a Mythic Gallery represented artist. Piece titled, Theme and Variation 1.

Theme and Variation I

Artist: Patrick Schmidt
Acrylic on paper
30’’ x 22'’

Inquire here:
mythicgallery.com/artists/patr...

#OwnTheLegend #MythicGallery #OriginalArt #GeometricAbstraction #HardEdgeAbstraction

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Dávila is a Peruvian artist who belongs to the 60s generation when the visual languages influenced by neoplasticism and "Hard Edge" from the New York school of abstraction were explored, displacing the limits
of painting, sculpture, engraving, and action, making their productions with vanguard proposals and transgression with the academicisms and aesthetic formalists of the time. Hence, many of the productions of those years were called by the critic
Juan Acha as "non-objectualist art." "Estructuras en Azul" is a 1968 piece that presents a chromatic game obtained by the internal unevenness of the circular fields that, in its
relation with the variations of blues and the illumination of its set, achieves light shadows that move from a circle to another, generating a fine mobility, similar to the lunar phases.

Dávila is a Peruvian artist who belongs to the 60s generation when the visual languages influenced by neoplasticism and "Hard Edge" from the New York school of abstraction were explored, displacing the limits of painting, sculpture, engraving, and action, making their productions with vanguard proposals and transgression with the academicisms and aesthetic formalists of the time. Hence, many of the productions of those years were called by the critic Juan Acha as "non-objectualist art." "Estructuras en Azul" is a 1968 piece that presents a chromatic game obtained by the internal unevenness of the circular fields that, in its relation with the variations of blues and the illumination of its set, achieves light shadows that move from a circle to another, generating a fine mobility, similar to the lunar phases.

Structures in Blue by Rubela Dávila, 1968, MAC-Lima (Lima, Peru)

#ArtHistory #ContemporaryArt #NeoPlasticism #HardEdgeAbstraction

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“Cohesion 1-2”, acrylic on 300lb watercolour paper, 16” x 20” framed

#geometricpainting #geometricabstraction #hardedgeart #hardedgepainting #modernart #contemporaryart #hardedgeabstraction

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“Network 52”, Morph Series, acrylic on 300lb watercolour paper, 16” x 20” framed

#contemporaryart #modernart #hardedgeabstraction #geometricart #geometricabstraction #hardedgeart #abstractart

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“Network 58”, Morph Series, acrylic on 300lb watercolour paper, 16” x 20” framed

#hardedgeabstraction #contemporyart #modernart #geometricabstraction #geometricart #hardedgeart #abstractart

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#new #imaginary #mural please #enjoy #color #colortheory #hardedgeabstraction #geometricdesign #interiordesign #interiordesigner #artadvisor #artadvisory

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“Angled Extensions 5”, Bevel Series, acrylic on canvas, 20” x 20”

#geometricabstraction #abstractart #hardedgepainting #hardedgeabstraction #hardedgeart #contemporaryart #contemporarycanadianart #geometricart #modernart

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“Lachrymiform Colour Formations 2”, acrylic on canvas, 24” x 36”

#abstractart #geometrıcabstractıon #contemporaryart #hardedgepainting #hardedgeabstraction #modernart #abstractpainting #geometricart

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